"    I         .ODUCTIO, 

AND 
IPRETA' 


art 


1.  RAPHAEL 

2.  REMBRANDT 

3.  MICHELANGELO 

4.  MILLET 

5.  REYNOLDS 

6.  MURILLO 

7.  GREEK  SCULPTURE 

8.  TITIAN 

9.  LANDSEER 
10.  CORREGGIO 

it.  TUSCAN  SCULPTURE 

12.  VAN  DYCK 

Representative  pictures  by  famous  Artists, 
with  interpretative  text  and  portrait  of  the 
painter.  Edited  by  ESTELLE  M.  HURLL. 
Each  volume,  crown  8vo,  75  cents,  net  ; 
School  Edition,  linen,  50  cents,  net  ;  paper, 
35  cents,  net. 

HOUGHTON,  MIFFLIN  &  CO. 
Boston  and  New  York 


IL  MAK/UCCO  (IXJNATELLO) 
National  Muieum,  Hortntt 


iSitoerjifoe  art 


TUSCAN  SCULPTURE 

OF  THE  FIFTEENTH  CENTURY 

A  COLLECTION  OF  SIXTEEN  PICTURES 

REPRODUCING  WORKS  BY  DONATELLO,  THE 

DELLA  ROBBIA,  MINO  DA  FIESOLE,  AND 

OTHERS,  WITH  INTRODUCTION 

AND  INTERPRETATION 

BY 

ESTELLE  M.IHURLL 


BOSTON  AND  NEW  YORK 
HOUGHTON,  MIFFLIN  AND  COMPANY 
Press,  Cambribge 
1902 


COPYRIGHT,   1902,   BY   HOUGHTON,  MIFFLIN   ft  CO. 
ALL    RIGHTS    RESERVED 


Published  March,  tqoa. 


PREFACE 

THIS  little  collection  is  intended  as  a  companion  volume 
to  "Greek  Sculpture,"  a  previous  issue  of  the  Riverside 
Art  Series.  The  two  sets  of  pictures,  studied  side  by 
side,  illustrate  clearly  the  difference  in  the  spirit  animat- 
ing the  two  art  periods  represented. 

The  Tuscan  sculpture  of  the  Renaissance  was  developed 
under  a  variety  of  forms,  of  which  as  many  as  possible 
are  included  in  the  limits  of  our  book:  the  equestrian 
statue,  the  sepulchral  monument,  the  ideal  statue  of 
saint  and  hero,  as  well  as  various  forms  of  decorative 
art  applied  to  the  beautifying  of  churches  and  public 
buildings  both  without  and  within. 

ESTELLE  M.  HURLL. 

NEW  BEDFORD,  MASS. 
February,  1902. 


CONTENTS  AND  LIST  OF  PICTUKES 

MM 

IL  MARZOCCO  (THE  HERALDIC  LION  OF  FLORENCE).  By  Dona- 

tello o (Frontispiece) 

INTRODUCTION 

i.  ON  SOME  CHARACTERISTICS  OF  TUSCAN  SCULPTURE 

OF  THE  FIFTEENTH  CENTURY vii 

n.  ON  BOOKS  OF  REFERENCE xi 

in.  HISTORICAL  DIRECTORY  OF  THE  WORKS  m  THIS 

COLLECTION xiii 

iv.  TABLE  OF  BIOGRAPHICAL  DATA xvi 

I.   MUSICAL  ANGELS.     By  Donatello 1 

II.   ST.  PHILIP.     By  Nanni  di  Banco 7 

III.  ST.  JOHN  THE  BAPTIST.     By  Donatello  ......     13 

IV.  THE  INFANT  JESUS  AND  ST.  JOHN.    By  Mino  da  Fiesole    19 
V.   BOYS  WITH  CYMBALS.     By  Luca  della  Robbia      ...    25 

VI.  TOMB  OF  ILARIA  DEL  CARRETTO  (Detail).    By  Jacopo 

della  Quercia 31 

VII.  MADONNA  AND  CHILD  (Detail  of  lunette).    By  Luca 

della  Robbia 37 

VIII.  THE  MEETING  OF  ST.  FRANCIS  AND  ST.  DOMINICK.    By 

Andrea  della  Robbia 43 

IX.   ST.  GEORGE.     By  Donatello 49 

X.    BAMBINO.     By  Andrea  della  Robbia 55 

XI.   THE  ANNUNCIATION.     By  Andrea  della  Robbia    ...    61 
XII.   THE  ASCENSION.     By  Luca  della  Robbia 67 

XIII.  TOMB  OF  THE   CARDINAL  OF  PORTUGAL.     By  Antonio 

Rossellino 73 

XIV.  EQUESTRIAN  STATUE  OF  GATTAMELATA.    By  Donatello    79 
XV.   SHRINE.     By  Mino  da  Fiesole 86 

XVI.  IL  MARZOCCO  (THE  HERALDIC  LION  OF  FLORENCE). 

By  Donatello  (See  Frontispiece) 91 

PRONOUNCING  VOCABULARY  OF  PROPER  NAMES  AND 
FOREIGN  WORDS 95 

NOTE:  With  one  exception  the  pictures  were  made  from  photo- 
graphs by  Aliuari ;  the  "  Musical  Angels  "  was  made  from  a  pho- 
tograph by  Naya. 


INTRODUCTION 


I.  ON  SOME  CHARACTERISTICS  OF  TUSCAN  SCULPTURE 
IN  THE  FIFTEENTH  CENTURY.       . 

"THE  Italian  sculptors  of  the  earlier  half  of  the  fif- 
teenth century  are  more  than  mere  forerunners  of  the 
great  masters  of  its  close,  and  often  reach  perfection 
within  the  narrow  limits  which  they  chose  to  impose  on 
their  work.  Their  sculpture  shares  with  the  paintings 
of  Botticelli  and  the  churches  of  Brunelleschi  that  pro- 
found expressiveness,  that  intimate  impress  of  an  in- 
dwelling soul,  which  is  the  peculiar  fascination  of  the 
art  of  Italy  in  that  century." 

These  words  of  Walter  Pater  define  admirably  the 
quality  which,  in  varying  degree,  runs  through  the  work 
of  men  of  such  differing  methods  as  Donatello,  the  della 
Robbia,  Mino  da  Fiesole,  and  Rossellino.  It  is  the  qual- 
ity of  expressiveness  as  distinguished  from  that  abstract 
or  generalized  character  which  belongs  to  Greek  sculp- 
ture. Greek  sculpture,  it  is  true,  taught  some  of  these 
artists  how  to  study  nature,  but  it  did  not  satisfy  Chris- 
tian ideals.  The  subjects  demanded  of  the  Tuscans  were 
entirely  foreign  to  Greek  experience.  The  saints  and 
martyrs  of  the  Christian  era  were  at  the  opposite  pole  from 
the  gods  and  heroes  of  antiquity.  Hence  the  aim  of  the 
new  sculpture  was  the  manifestation  of  the  soul,  as  that 
of  the  classic  art  had  been  the  glorification  of  the  body. 

Jacopo  della  Quercia  was  one  of  the  oldest  of  the  sculp- 
tors whose  work  extended  into  the  fifteenth  century,  being 


viii  TUSCAN  SCULPTURE 

already  twenty-five  years  of  age  when  that  century  began. 
Standing  thus  in  the  period  of  transition  between  the  old 
and  the  new,  his  work  unites  the  influence  of  mediaeval 
tradition  with  a  distinctly  new  element.  His  bas-reliefs 
on  the  portal  of  S.  Petronio  at  Bologna  are  probably 
his  most  characteristic  work.  The  tomb  of  Hariri  del 
Carretto  is  in  a  class  by  itself:  "In  composition,  the 
gravest  and  most  tranquil  of  his  works,  and  in  concep- 
tion, full  of  beauty  and  feeling."1 

Donatello  is  undoubtedly  the  greatest  name  in  Italian 
sculpture  previous  to  Michelangelo.  The  kinship  be- 
tween these  two  men  was  felicitously  expressed  in  Vasari's 
quotation  from  "the  most  learned  and  very  reverend" 
Don  Vicenzo  Borghini:  "Either  the  spirit  of  Donato 
worked  in  Buonarroti,  or  that  of  Buonarroti  first  acted  in 
Donato."  Vitality,  force,  action,  suggestiveness,  char- 
acter, such  are  the  words  which  spring  to  the  lips  in  the 
presence  of  both  masters. 

The  range  of  Donatello's  art  was  phenomenal,  from 
works  of  such  magnitude  as  the  equestrian  statue  of 
Gattamelata,  to  the  decorative  panels  for  the  altar  of  S. 
Antonio  at  Padua.  At  times  he  was  an  uncompromising 
realist,  as  in  his  statue  of  the  bald  old  man,  the  Zuc- 
cone,  who  figured  as  King  David.  Again  he  showed 
himself  capable  of  lofty  idealism,  as  in  the  beautiful  and 
heroic  St.  George.  Which  way  his  own  tastes  leaned 
we  may  judge  from  his  favorite  asseveration,  "By  my 
/uccone."  The  point  is  that  it  mattered  nothing  to  him 
whether  his  model  was  beautiful  or  ugly,  whether  he 
wrought  out  an  ideal  of  his  imagination  or  studied  the 
character  of  an  actual  individual;  his  first  care  was  to 
iiKikr  tin  fiirure  live.  In  consequence  his  art  has  what  a 
critic  has  called  "a  robustness  and  a  sanity"  which  have 
made  it  "a  wellspring  of  inspiration  to  lesser  men." 

1  Sidney  Colvin. 


INTRODUCTION  ix 

The  only  subject  practically  left  out  of  Donatello's 
work  was  woman.  Children  afforded  him  all  the  mate- 
rial he  needed  for  the  more  decorative  forms  of  his  art. 
For  the  rest  the  problems  which  interested  him  most  were 
perhaps  best  worked  out  in  the  study  of  the  male  figure. 

A  recent  biographer  of  Donatello,  Hope  Rea,  points 
out  some  interesting  characteristics  of  his  technical  work- 
manship. In  every  work  subsequent  to  his  St.  Mark, 
"the  hair,"  she  says,  "is  conspicuous  by  its  appearance 
of  living  growth."  And  again,  explaining  the  excellence 
of  his  drapery,  she  shows  how  he  went  beyond  the  ordi- 
nary consideration  of  the  general  flow  and  line  of  the 
stuffs,  to  a  study  of  the  sections  of  the  folds.  Hence 
drapery  with  him  "is  not  only  an  arrangement  of  lines 
for  decorative  effect,  or  a  covering  for  the  figure,  but  it 
is  a  beauty  in  itself,  filled  with  the  living  air." 

Nanni  di  Banco  is  a  name  naturally  associated  with 
that  of  Donatello,  not  only  on  account  of  the  friendship 
between  the  two,  but  from  the  fact  that  both  worked  on 
the  church  of  Or  San  Michele.  Nanni  was  one  of  the 
smaller  men  whose  work  is  overshadowed  by  the  fame  of 
a  great  contemporary.  His  art  has  not  sufficient  distinc- 
tion to  give  it  a  prominent  place ;  yet  it  is  not  without 
good  qualities.  Marcel  Reymond  insists  that  the  public 
has  not  yet  appreciated  the  just  merits  of  this  neglected 
sculptor.  In  his  opinion  the  St.  Philip  was  the  inspira- 
tion of  Donatello's  St.  Mark,  while  Nanni's  St.  Eloi  had 
an  influence  upon  St.  George. 

With  Luca  della  Robbia  began  the  "reign  of  the  bas- 
relief,"  as  Marcel  Reymond  characterizes  the  period  of 
fifty  years  between  Donatello  and  Michelangelo.  Women 
and  children  were  the  special  subjects  of  this  sculptor's 
art,  and  it  is  perhaps  in  the  Madonna  and  Child  that  we 
see  his  most  characteristic  touch.  How  well  he  could 
represent  spirited  action,  we  see  in  some  of  the  panels  of 


x  TUSCAN  SCULPTURE 

the  organ  gallery.  How  dignified  was  his  sense  of  repose, 
is  seen  in  the  lunette  of  the  Ascension. 

Much  as  he  cared  for  expression,  —  "expression  car- 
ried to  its  highest  intensity  of  degree,"  as  Walter  Pater 
put  it,  —  he  never  found  it  necessary  to  secure  this  ex- 
pression at  the  cost  of  beauty.  That  he  studied  nature 
at  first  hand  his  works  are  clear  evidence,  but  that  did 
not  preclude  the  choice  of  attractive  subjects.  His  style 
is  "so  sober  and  contained,"  writes  a  recent  critic,  "so 
delicate  and  yet  so  healthy,  so  lovely  and  yet  so  free 
from  prettiuess,  so  full  of  sentiment,  and  devoid  of  senti- 
mentality, that  it  is  hard  to  find  words  for  any  critical 
characterization." 1  "Simplicity  and  nobility,"  the  words 
of  Cavalucci  and  Molinier,  is  perhaps  the  best  phrase  in 
which  to  sum  up  the  art  of  Luca  della  liobbia. 

In  his  nephew,  Andrea  della  Kobbia,  the  founder  of 
the  school  had  a  successor  whose  best  work  is  worthy  of 
the  master's  teaching.  If  he  lacked  the  simplicity  and 
severity  of  the  older  man,  he  surpassed  him  in  depth  of 
Christian  sentiment.  Sometimes,  it  is  true,  his  tender- 
ness verges  on  weakness,  his  devoutness  on  pietism.  If 
we  are  tempted  to  charge  him  with  monotony  we  must 
remember  what  pressure  was  brought  upon  a  man  whose 
works  attained  such  immense  popularity.  The  bambini 
of  the  Foundling  Hospital  and  the  Meeting  of  St.  Fran- 
cis and  St.  Dominick  show  the  high  level  to  which  his 
art  could  rise. 

A  ntonio  Rossellino  and  Mino  da  Fiesole  may  be  classed 
to-fth.T  as  sculptors  to  whom  decorative  effect  was  of 
first  importance;  they  loved  line  and  form  for  their  in- 
trinsic beauty.  They  delighted  in  elaborate  and  well 
ordered  compositions.  Elegance  of  design,  delicacy  and 
refinement  in  handling,  are  invariable  qualities  of  their 

»  Notes  on  VatarCt  live*,  edited  by  £.  H.  and  E.  W.  Bloshfield  and 
A  A  Hopkins. 


INTRODUCTION  ri 

work.  Such  qualities  were  especially  to  be  desired  in 
the  making  of  those  sepulchral  monuments  which  were  so 
numerous  in  their  period.  Of  the  many  fine  works  of 
this  class  in  Tuscany  each  of  these  two  sculptors  contrib- 
uted at  least  one  of  the  best  examples. 

It  is  superfluous  to  point  out  that  the  sweetness  of  these 
sculptors  is  perilously  near  the  insipid,  their  grace  too 
often  formal.  We  are  brought  to  realize  the  true  great- 
ness of  the  men  when  we  behold  the  grave  and  tranquil 
beauty  of  the  effigy  of  the  Cardinal  of  Portugal,  or  the 
vigorous  characterization  of  the  bust  of  Bishop  Salutati. 

It  is  John  Addington  Symonds  who  says  the  final  word 
when  he  declares  that  the  charm  of  the  works  of  such  men 
as  Mino  and  Rossellino  "can  scarcely  be  defined  except 
by  similes."  And  these  are  the  images  which  this  master 
of  similes  calls  up  to  our  mind  as  we  contemplate  their 
works :  "  The  innocence  of  childhood,  the  melody  of  a  lute 
or  a  song  bird  as  distinguished  from  the  music  of  an 
orchestra,  the  rathe  tints  of  early  dawn,  cheerful  light  on 
shallow  streams,  the  serenity  of  a  simple  and  untainted 
nature  that  has  never  known  the  world." 

II.     ON  BOOKS  OF  REFERENCE. 

There  are  but  few  works  devoted  exclusively  to  the 
subject  of  Italian  Renaissance  sculpture.  For  many  years 
American  students  seeking  information  in  this  direction 
have  relied  chiefly  upon  the  works  of  C.  C.  Perkins: 
"Tuscan  Sculptors"  (2  vols.),  London,  1864;  "Italian 
Sculptors "  (in  Northern,  Southern  and  Eastern  Italy), 
London,  1868 ;  and  finally  the  volume  which  unites  and 
revises  the  material  of  both  earlier  works,  "Historical 
Handbook  of  Italian  Sculpture,"  New  York,  1883. 

The  recent  work  of  Marcel  Reymond,  "La  Sculpture 
Florentine,"  Florence,  1898,  has  been  heartily  welcomed 
by  students  of  all  nationalities.  It  consists  of  four  vol- 


iii  TUSCAN  SCULPTrilK 

nines,  all  well  illustrated,  devoted  respectively  to:  (1) 
Les  Prede'cesseurs  de  1'Kctilr  Florentine  ft  la  Sculpture 
Florentine  au  XIV"  siecle  [The  Precursors  of  the  Flo- 
rentine School  and  Florentine  Sculpture  of  the  14th  Cen- 
tury]. (2)  Premiere  moitie  du  XV*  siecle  [First  half 
of  the  15th  century].  (3)  Seconde  moitie  du  XV"  siecle 
[Second  half  of  the  15th  century].  (4.)  Le  XVP  siecle  et 
les  Successeurs  de  1'Ecole  Florentine  [The  16th  Century 
and  the  Successors  of  the  Florentine  School].  As  it 
has  not  been  translated  into  English  this  work  is  not 
so  widely  read  by  the  general  public  as  it  should  be,  but 
it  is  probably  to  be  found  in  most  large  libraries. 

A  newly  published  book,  "  Italian  Sculpture  of  the 
Renaissance,"  by  L.  J.  Freeman,  M.  A.,  appears  just  as 
this  volume  goes  to  press.  It  is  a  brief  survey,  crit- 
ical and  interpretative,  of  the  principal  works  of  the 
most  prominent  Florentine  sculptors  of  the  period,  with 
some  account  of  the  characteristics  of  the  early  and  later 
Renaissance  work.  Some  forty  fine  illustrations  eluci- 
date the  study. 

Of  the  general  works  on  the  history  of  art  from  which 
material  on  our  subject  may  be  drawn,  the  most  impor- 
tant is  of  course  Vasari's  "Lives."  In  the  recently  revised 
English  version,  edited  by  E.  H.  and  E.  W.  Blashfield 
and  A.  A.  Hopkins  (New  York,  1897),  are  some  valuable 
footnotes  summing  up  the  characteristics  of  the  individual 
sculptors. 

Of  inestimable  value  for  purposes  of  serious  study  are 
the  volumes  by  Eugene  Miintz,  "Histoire  de  1'Art  pen- 
dant la  Renaissance."  The  material  bearing  on  the  sculp- 
tors illustrated  in  this  present  collection  is  found  in  his 
volume  devoted  to  "Les  Primitifs"  (Paris,  1889).  Those 
to  whom  the  French  text  presents  no  difriculty  \\ill  derive 
inui-li  benefit  from  the  study  of  this  book,  which  may  be 
consulted  in  the  large  public  libraries. 


INTRODUCTION  riii 

A  book  available  to  all,  and  of  a  delightfully  popular 
nature,  is  the  volume  on  "The  Fine  Arts"  in  John 
Addington  Symonds's  series  of  The  Renaissance  in  Italy. 
This  writer  had  a  remarkable  gift  for  putting  much  sug- 
gestive comment  into  a  compact  and  readable  form. 

General  histories  of  sculpture  allotting  a  proportionate 
space  to  the  consideration  of  the  Italian  sculptors  of  the 
Renaissance  are,  by  Lucy  Baxter,  "Sculpture,  Renais- 
sance and  Modern  "  (New  York,  1891);  Liibke,  "History 
of  Sculpture,"  translated  from  the  German  by  F.  E. 
Bunnett  (London,  1878);  Allan  Marquand  and  A.  L. 
Frothingham,  "Textbook  of  the  History  of  Sculpture" 
(New  York,  1896). 

A  special  study  of  the  work  of  Donatello  is  made  by 
Hope  Rea  in  a  volume  of  the  series  of  Handbooks  of  the 
Great  Masters  in  Painting  and  Sculpture.  A  complete 
list  of  the  sculptor's  works  is  given.  Luca  della  Robbia 
is  the  subject  of  two  important  French  works :  by  Cava- 
lucci  and  Molinier,  "Les  Della  Robbia"  (Paris,  1884); 
by  Marcel  Reymond,  "Les  Della  Robbia"  (Florence, 
1897).  There  is  a  chapter  on  Luca  della  Robbia  in 
Walter  Pater's  "Studies  in  the  History  of  the  Renais- 
sance" (1890),  and  another  in  Mrs.  Van  Rensselaer's 
"Six  Portraits"  (Boston,  1889). 

Mrs.  Oliphant  has  written  pleasantly  both  of  Donatello 
and  of  Luca  della  Robbia  in  "The  Makers  of  Florence." 


in.    HISTORICAL    DIRECTORY    OF    THE    WORKS    IN 
THIS  COLLECTION. 

Frontispiece.  II  Marzocco  (the  heraldic  lion  of  Flor- 
ence). (Donatello.)  Made  of  pietra  serena  and  originally 
placed  on  the  ringhiera  of  the  Palazzo  Vecchio,  Florence. 
Now  in  the  National  Museum  (Bargello)  of  that  city,  while 
a  bronze  copy  occupies  its  place  in  front  of  the  palace. 


xiv  IT-CAN  SCULPTUl; 

1.  Musical  Angels.     (Donatello.)     Bronze  bas-reliefs 
from  the  high  altar  of  S.  Antonio,  Padua.     Onlrivd  in 
1448.    Completed  in  1450.     Man •« •!  Keymond  holds  that 
the  execution  of   these  reliefs  was  committed  to  assist- 
ants.    In  1576  a  new  altar  was  ordered,  and  Donatello's 
bronzes  were   dispersed.     In    1895   a  reconstruction    of 
Donatello's  altar  was  made,   setting  the   parts  in  place 
according  to  what  is  supposed  to  have  been  the  original 
design. 

2.  St.  Philip.     (Nanni  di  Banco.)     Marble  statue  in 
niche  on  outside  of  Or  San  Michele,  Florence.     The  date 
is  uncertain;  Marcel  Reymond  considers  it  one  of  Nanni's 
oldest  works,  placing  it  before  1408. 

3.  St.  John  the  Baptist.     (Donatello.)    Bas-relief  in 
pirtra  serena  in  the  National  Museum  (Bargello),  Flor- 
ence.    No  date  is  assigned. 

4.  The  Infant  Jesus  and  St.  John.    (Mino  da  Fiesole.) 
Detail   of   marble  altarpiece  in  alto  relievo  in  cathedral 
of  Fiesole,  being  a  part  of  the  monument  of  Bishop  Salu- 
tati.     Ordered  in  1462. 

5.  Soys  with  Cymbals.  (Lucca  della  Robbia.)  One  of 
the  marble  bas-reliefs  ornamenting  the  organ  gallery  for 
the  Florence  cathedral.     Organ  gallery  begun  in  1431, 
finished  1440.    Removed  from  cathedral  in  1688.    Reliefs 
put   in  Uffizi  Gallery  1882,  and  then  in  the  Bargello. 
Thence  taken  to  the  museum  of  the  Duomo,  where  they 
are  now  to  be  seen,  set  up  in  place  on  the  reconstructed 
gallery. 

6.  Tomb  of  flaria   del    Carretto  (Detail).     (Jacopo 
•  lella  Quercia.)     Marble  tomb  in  the  cathedral  of  Lneea. 
Milanese  dates  it  1413,  but  Ridolfi's  description  of  the 
Lucca  eatliedral  places  Jacopo's  work  then-  in  1406  or 
1407,  and  Miintx  thinks  this  date  conclusive. 

7.  Madonna  and  Child  (Detail).    (Luca  tl.-lla  i;..l.l>i.-i. ) 
Glazed  terra  cotta  lunette  over  the  door  of  a  building 


INTRODUCTION  xv 

(now  a  shop)  in  the  Via  dell'  Agnolo,  Florence.  Con- 
sidered by  Marcel  Reymond  the  most  difficult  of  Luca's 
work  to  date.  According  to  Dr.  Bode,  executed  before 
1431 ;  according  to  Allan  Marquand,  between  1430  and 
1440 ;  according  to  Marcel  Reymond,  towards  1450. 

8.  Meeting  of  St.  Francis  and  St.  Dominick.   (Andrea 
della  Robbia.)     Glazed  terra  cotta  lunette  in  the  Loggia 
of  San  Paolo,  Florence.     Classified  by  Marcel  Reymond 
under  Andrea's  third  manner,  because  distinguished  by 
perfect  knowledge  of  artistic  principles. 

9.  St.  George.    (Donatello.)    Marble  statue  originally 
designed  for  a  niche  on  the  church  of  Or  San  Michele, 
Florence.     Executed  in  1416  at  the  order  of  the  Guild 
of  Armorers.     In  1887  it  was  removed  to  the  National 
Museum,  Florence,  to  preserve  it  from  injury  by  expo- 
sure to  the  weather.     A  bronze  copy  was  substituted  for 
it  on  the  church. 

10.  Bambino.     (Andrea   della   Robbia.)     One   of  a 
series  of  glazed  terra  cotta  medallions  on  the  facade  of 
the  Foundling  Hospital,  Florence.    Judged  by  its  relation 
to  the  art  of  Luca  della  Robbia,  this  is  among  the  early 
works  of  Andrea.     From  certain  data  in  the  history  of 
the  hospital,  Cavalucci  reckons  that  it  was  executed  about 
the  year  1463. 

11.  The  Annunciation.    (Andrea  della  Robbia.)   Altar- 
piece   at  La  Verna.     Marcel  Reymond  says   that  from 
the  beauty  of  style  and  the  advanced  knowledge  of  tech- 
nique exhibited  here,  this  work  must  belong  to  Andrea's 
maturity,  that  is,  in  the  neighborhood  of  his  fortieth  year. 
It  is  classified  by  Reymond  in  Andrea's  "first  manner." 

12.  The  Ascension.    (Luca  della  Robbia.)  Enamelled 
terra  cotta  lunette,  decorating  tympanum  of  door  of  sac- 
risty in  the  cathedral  at  Florence.     The  first  work  in  this 
material  by  Luca  of  which  we  have  the  date,  1446. 

13.  Tomb  of  the  Cardinal  of  Portugal  (Detail).  (An- 


xri  TUSCAN  SCULPTURE 

tonio  Rossellino.)    Tomb  in  colored  marble  in  the  church 
of  San  Miniato,  Florence.     Ordered  in  1401. 

14.  Equestrian  statue  of  Gattamelata.    (Donatello.) 
In  the  Piazza  del  Santo,  Padua.    Commission  given  1444. 
Work  begun  1446.     Statue  set  up,  1453.     Erected  at 
the  expense  of  Gattamelata's  son,  Gio.  Antonio. 

15.  Shrine.     (Mino  da   Fiesole.)     A  marble   taber- 
nacle, decorated  in  mezzo-relievo  and  originally  made  for 
the  nuns  of  the  convent  of  the  Murate.     Removed  in 
1815  to  S.  Croce,  Florence.     No  date  is  assigned  to  it. 

IV.    TABLE  OF  BIOGRAPHICAL  DATA. 

Jacopo  di  Pietro  d1  Angela,  of  La  Quercia  Gossa,  a 
castello  once  near  Siena  and  since  destroyed.  Born  1371 ; 
died  1438.  Variously  stated  to  have  been  a  scholar  of 
Maestro  Goro  and  of  Luca  di  Giovanni.  Milanese  be- 
lieves that  these  claims  are  groundless,  and  that  Jacopo 
was  a  pupil  of  his  own  father,  who  was  a  goldsmith.  Best 
known  for  his  marble  reliefs  ornamenting  the  portal  of 
S.  Petronio,  Bologna. 

Nanni  di  Banco.  Son  of  Antonio  di  Banco,  who 
was  at  work  in  the  Florence  Cathedral  in  1406.  lie  is 
known  to  have  been  considerably  older  than  Donatello, 
and  Marcel  Keymond  suggests  the  date  1374  as  the 
probable  year  of  his  birth.  Died  1421. 

Donatello.  The  familiar  name  applied  to  Donato  di 
Niccolb  di  Betti  Bardi.  Born  in  Florence,  1386;  died 
in  Florence,  1466.  His  visit  to  Rome  in  company  with 
Brunelleschi  has  been  called  the  most  important  of  the 
initial  steps  in  the  revival  of  antiquity  in  art.  The 
friendship  and  patronage  of  Cosmo  de'  Medici  brought 
the  artist  many  commissions. 

Luca  di  tiimone  di  Marco  ddla  Itolibia.  Born  in 
Florence,  1399  or  1400;  died  1482. 


INTRODUCTION  xvii 

Andrea  della  Robbia,  nephew  of  Luca.  Born  1435; 
died  1525. 

Antonio  Rossellino.  One  of  the  five  sons  of  Matteo 
di  Domenico  Gambarelli,  all  being  artists.  Born  in  Set- 
tignano  in  1427 ;  died  about  1499. 

Mino  di  Giovanni  di  Mino,  usually  called  Mino  da 
Fiesole.  Born  in  1431  in  Poppi,  in  the  Casentino,  a 
district  between  the  sources  of  the  Arno  and  Tiber,  north 
of  Arezzo.  Died  in  1484.  He  was  a  friend  of  Desiderio 
da  Settignano,  but  probably  not  one  of  his  pupils. 


MUSICAL   ANGELS 
BY  DONATELLO 


IN  the  western  part  of  Italy,  lying  a  little  north 
of  the  centre,  is  the  district  known  as  Tuscany. 
Here,  in  the  valley  of  the  Arno,  is  the  city  of  Flor- 
ence, glorious  with  her  storied  palaces  and  churches. 
Around  her  are  clustered  Pistoja  and  Lucca,  Pisa 
and  Leghorn,  Siena  and  Arezzo,  all  notable  towns 
in  Italian  history.  Here,  too,  is  Carrara,  with  its 
stores  of  beautiful  marble. 

It  was  from  this  little  district  of  Tuscany  that 
the  sculptors  came  forth  who  have  helped  to  make 
Italy  famous  as  the  birthplace  of  modern  art.  The 
development  of  Tuscan  sculpture  covered  a  period  of 
some  three  centuries,  beginning  with  the  Pisan  Nic- 
colo,  who  worked  between  the  years  1220  and  1270, 
and  culminating  with  the  great  Florentine  Michel- 
angelo, who  died  in  1564.  We  shall  study  in  this 
little  collection  a  few  works  of  the  fifteenth  century. 

It  was  the  time  called  by  historians  the  Renais- 
sance, which  means  literally  "  the  new  birth."  The 
world  was  awakening  from  the  long  sleep  of  the 
Middle  Ages,  and  Italy  was  the  first  to  be  aroused. 
Certain  adventurous  spirits  began  to  ponder  the 


2  N*  SCULITL'RE 

jx)ssibility  of  a  new  continent  beyond  the  sea.  There 
was  a  great  revival  of  learning,  accompanied  by  a 
pa^i<,nate  love  of  the  beautiful.  Schools  of  art 
were  established  throughout  the  length  of  Italy. 

In  other  volumes  of  this  series  we  have  learned 
how  the  churches,  palaces,  and  public  buildings 
were  filled  with  paintings.1  We  shall  now  see  that 
sculpture  also  contributed  much  to  the  adornment 
of  the  cities.  Statues,  busts,  and  bas-reliefs,  in  mar- 
ble, bronze,  and  terra-cotta,  ornamented  many  build- 
ings both  without  and  within. 

Our  illustration  shows  two  panels  from  the  series 
of  twelve  bronze  reliefs  on  the  front  of  a  church 
altar.  Two  little  boy  angels  are  making  music  with 
their  pipes.  The  companion  panels  are  also  filled 
with  musical  angels,  some  singing  and  others  play- 
ing on  various  instruments. 

The  New  Testament  begins  and  ends  with  the 
music  of  angels.  The  birth  of  Jesus  is  In-raided  by 
a  multitude  of  the  heavenly  host  singing  "  Glory  to 
God  in  the  highest."  The  golden  city  of  St.  John's 
vision  is  filled  with  "  the  voice  of  harpers,  harping 
with  their  harps,"  in  the  new  song  before  the  throne 
of  God.  Thence  has  arisen  the  beautiful  custom  of 
artists  to  represent  angels  as  musicians. 

Tin1  child  angels  of  our  piettm-  have  tiny  pointed 
winijs  as  a  si^ii  of  their  heavenly  origin.  Certainly 
we  cannot  imagine  such  buoyant  little  creatures 
treading  the  earth  like  mortals.  One  .stands  on  tip- 
toe like  a  bird  poised  for  flight.  The  other  skips 
1  See  Raphael,  Mickdangdo,  Titian,  nod  Correggio. 


Jolju  Andrew  £  S,u,  So. 


MUSICAL  ANGELS  (DONATELLO) 
Church  of  San  Antonio,  Padua 


MUSICAL  ANGELS  5 

through  the  air  with  joyous  motion.  The  head  of 
one  is  encircled  by  a  halo,  the  emblem  of  purity. 
The  other  wears  a  fillet  of  flowers  over  his  curls. 
Each  carries  two  little  pipes,  the  simplest  of  musical 
instruments. 

It  was  long  ago  in  the  childhood  of  the  race  that 
some  shepherd,  plucking  a  reed  from  the  bank  of  a 
stream,  first  found  that  the  hollow  stem  had  a  voice 
of  its  own.  The  pipe  thereafter  became  a  favorite 
instrument  among  primitive  people.  We  read  in 
the  Old  Testament  Scriptures  that  the  ancient  He- 
brews used  it  in  the  celebration  of  their  festivities. 
At  the  Greek  festivals  also  the  pipers  had  a  place 
in  the  procession  of  musicians. 

Our  angel  pipers  are  blowing  lustily  with  puffing 
cheeks  — 

"  Such  sweet 

Soft  notes  as  yet  musician's  cunning 
Never  gave  the  enraptured  air." 

They  are  genuine  musicians,  not  children  playing 
with  the  pipes  as  with  toys.  They  move  to  the 
rhythm  of  their  piping,  their  lifted  faces  expressing 
their  delight.  Their  thin  garments  cling  to  their 
figures,  and  the  loose  ends  flutter  about  them. 

Every  line  of  the  modelling  is  beautiful,  the  poise 
of  the  figures  full  of  rhythmic  grace.  The  angel  at 
the  left  stands  in  profile,  with  face  slightly  turned 
away  from  the  spectator.  The  right  hand  figure 
skips  directly  out  of  his  panel,  swinging  lithely 
about  towards  the  left,  as  he  moves.  The  outlines 
of  both  figures  describe  long  fine  curves,  with  which 


6  TUSCAN  SCULPTURE 

the  edges  of  the  drapery  run  parallel.  In  the  draw- 
ing of  the  right  hand  angel  we  may  trace  delicate 
patterns  of  interlacing  ovals. 

Some  portions  of  the  work  seem  to  be  modelled 
in  very  high  relief.  The  limbs,  we  are  told,  are  in 
low  relief,  supported  on  a  metal  back,  an  inch  or  so 
thick,  by  which  they  are  thrown  out  to  a  proper  dis- 
tance from  the  background. 

The  altar  to  which  our  panels  belong  is  in  the 
church  of  S.  Antonio,  Padua,  and  was  executed  by 
the  Florentine  sculptor,  Donatello,  in  1450.  The 
entire  scheme  of  decoration  is  very  elaborate.  On 
the  front  is  a  row  of  musical  angels,  in  which  the 
panels  here  reproduced  occupy  opposite  ends.  Above 
these  are  five  reliefs  of  larger  size ;  and  still  higher 
are  seven  life-size  statues  of  saints.  The  whole  is 
surmounted  by  a  crucifix.  Even  the  back  of  the 
altar  is  ornamented  with  reliefs,  and  the  work  is 
an  example  of  the  spirit  of  the  age,  which  thought 
nothing  too  rich  or  beautiful  for  the  purposes  of 
worship. 


n 

ST.    PHILIP 
BY   NAKNI  DI   BANCO 

ST.  PHILIP  was  one  of  the  first  group  of  disciples 
whom  Jesus  called  to  his  service.  He  was  a  native 
of  Bethsaida  in  Galilee,  but  we  do  not  know  what 
occupation  he  pursued  there.  There  is  a  tradition 
that  he  was  a  chariot  driver,  and  in  any  case  he  was 
certainly  a  laboring  man  like  all  of  the  twelve. 
Having  attached  himself  to  Jesus  he  began  at  once 
to  work  in  his  cause.  He  persuaded  Nathanael  to 
come  and  see  the  Master,  and  thereby  won  a  new 
adherent.1 

Philip  was  not  spiritually  minded,  like  John,  nor 
impetuous,  like  Peter,  but  in  his  own  way  he  wanted 
to  know  the  truth.  Perhaps  he  was  a  little  slower 
than  others  to  grasp  religious  teaching.  It  may  be 
that  he  was  franker  than  many  in  confessing  that 
he  did  not  understand. 

He  and  Thomas  were  somewhat  alike  in  this  re- 
spect, and  once,  when  Jesus  was  talking  of  departing 
to  the  Heavenly  Father,  both  interrupted  him  with 
questions.  Philip  said,  "  Lord,  show  us  the  Father 
and  it  sufficeth  us."  "  Have  I  been  so  long  tune 

1  St.  John,  chapter  i.,  verses  43-51. 


8  TUSCAN   SCULPTUKI 

with  you  and  yet  hast  thou  not  known  nu  ?  re- 
plied Jesus.  "  He  that  hath  seen  ine  hath  seen  the 
Father." ' 

Apparently  Phih'p  learned  his  lesson  well,  for  we 
read  in  traditional  history  of  his  faithful  missionary 
services  in  later  life.  He  was  twenty  years  in  Scythia 
preaching  the  gospel.  Then  he  went  to  Hieropulis 
in  Phrygia,  where  the  people  worshipped  a  serpent. 
The  apostle  drove  the  serpent  away,  but  the  pa^an 
priests  sought  his  life  in  revenge.  He  was  bound 
to  a  cross  and  stoned  to  death,  praying  even  in  his 
agony  for  his  enemies.2 

The  statue  of  St.  Philip  in  our  illustration  shows 

I 

him  as  a  somewhat  commonplace-looking  man  with 
heavy  features.  It  accords  with  the  usual  account 
of  him  that  his  face  should  not  be  particularly  in- 
tellectual. His  attitude  is  full  of  dignity,  and 
denotes  a  well-balanced  character.  The  large  ^ell- 
knit  hands  are  those  of  an  artisan.  He  is  of  about 
middle  age,  as  the  artists  usually  represent  him.  A 
plain  man  of  good  common  sense  and  sterling 
worth  —  this  was  Philip  both  in  fact  and  in  the 
statue. 

In  pictures  and  statues  the  apostles  nearly  always 
carry  the  symbols  of  their  identity.  St.  Philip's  em- 
blem is  the  cross,  but  it  is  here  dispensed  with,  and 
we  have  only  the  Latin  inscription  to  show  us  who 
he  is. 

The  statue  stands  in  a  niche,  and  is  one  of  a  series 

1  St.  John,  chapter  xiv.,  verses  1-11. 

*  Mrs.  Jameson's  Sacred  and  Legendary  Art,  p.  235. 


John  Andrew  .1  Sou,  go 


ST.  PHILIP  (NANNI  DI  BANCO) 
Church  of  Or  San  A/ic/ii'le,  Florence 


ST.  PHILIP  11 

ornamenting  the  outside  of  the  church  of  Or  San 
Michele  in  Florence.  In  building  this  church  all 
the  merchants  and  artisans  of  the  city  contributed 
to  support  the  work.  Each  trade  was  at  that  time 
represented  by  a  guild  or  association  whose  members 
united  to  advance  their  common  business  interests.1 
These  various  guilds  furnished  the  statues  for  the 
niches,  each  supplying  the  figure  qjf  its  own  patron 
saint.  St.  Philip  was  the  gift  of  the  Guild  of  Ho- 
siers, and  was  executed  by  the  sculptor  Nanni  di 
Banco. 

Donatello  had  at  first  been  approached  by  the 
guild,  but  considering  his  price  exorbitant  they  gave 
the  order  to  Nanni,  who  promised  to  accept  any 
terms  they  decided  upon.  When  the  statue  was 
done,  however,  the  sculptor  demanded  a  sum  larger 
than  the  price  of  Donatello.  The  latter  was  now 
called  upon  to  act  as  referee,  and  he  set  a  still  higher 
price  upon  the  work.  The  Hosiers  were  indignant. 
"  Why,"  they  asked,  "  had  Donatello  rated  Nanni's 
work  at  a  higher  price  than  his  own,  which  would 
have  undoubtedly  been  better  ?  "  "  Because,"  re- 
plied the  great  sculptor,  laughing,  "  being  less 
skilful  than  I,  he  has  worked  harder,  and  therefore 
deserves  more  pay."  A  compromise  was  effected, 
and  the  statue  set  in  place. 

That  Donatello  could  indeed  have  made  a  better 

1  The  Florentine  guilds  of  this  period  may  be  compared  with  those 
of  the  seventeenth  century  in  Holland.  See  the  chapter  on  the  "  Syn- 
dics of  the  Cloth  Guild  "  in  the  volume  on  Rembrandt  in  the  River- 
side Art  Series. 


12  TUSCAN  SCULPTL1 

statue  we  shall  presently  see  when  we  study  his  St. 
George,  designed  for  the  same  church.  St.  Philip 
lacks  distinction,  and  it  has  not  the  animation  which 
the  greater  sculptor  knew  how  to  impart  to  his  work. 
Nevertheless  it  has  certain  artistic  qualities  which 
make  it  worthy  of  Donatello's  championship. 

The  lines  of  the  drapery  are  well  studied.  Ap- 
parently Nanni  had  learned  something  in  this  re- 
spect from  the  Greek  sculpture.  Where  draperies 
are  simple  and  hang  in  long  unbroken  lines,  the 
effect  is  impressive  and  dignified.  When  they  are 
voluminous  and  broken,  they  lose  in  dignity.  Good 
art  is  always  simple  and  has  no  meaningless  lines. 

We  are  interested  in  examining  the  niche  in  which 
the  statue  is  set.  It  is  Gothic  in  design,  and  with 
its  pointed  top  and  side  pinnacles  recalls  the  cathe- 
dral windows  in  northern  Europe.  An  architectural 
frame  of  this  sort  is  often  called  a  tabernacle,  being 
in  fact  a  miniature  church  in  form.  In  the  trian- 
gular space  at  the  top  is  a  bas-relief  figure  in  half 
length  which  seems  to  represent  Christ.  The  base 
is  ornamented  with  an  arabesque  or  scroll  design, 
flanked  at  each  end  by  the  arms  of  the  Hosiers* 
Guild.  The  side  pillars  have  rich  Corinthian  capi- 
tals. Just  inside  are  twisted  pillars  of  curious  work- 
manship. 

Our  illustration  also  shows  a  portion  of  the  wall 
against  which  the  niche  is  placed.  We  see  that  t In- 
ch urch  is  built  of  stone,  set  in  square  blocks.  On 
each  side  of  the  niche  is  a  metal  ring  through  which 
torches  were  thrust. 


Ill 


ST.    JOHN   THE    BAPTIST 
BY   DONATELLO 


IN  the  hill  country  of  Judaea  lived  the  priest 
Zacharias  and  his  wife,  Elisabeth,  who  were  the 
parents  of  St.  John  the  Baptist.  They  were  pious 
people,  "  walking  in  all  the  commandments  and 
ordinances  of  the  Lord,  blameless."  One  day,  as 
Zacharias  was  ministering  in  his  office  in  the  temple, 
an  angel  brought  him  the  glad  tidings  that  he  was 
to  have  a  son.  "  Thou  shalt  call  his  name  John," 
said  the  vision,  "  and  thou  shalt  have  joy  and  glad- 
ness, and  many  shall  rejoice  at  his  birth." 

A  great  career  was  promised  for  the  coming  child. 
He  was  to  be  a  preacher  filled  with  spiritual  power. 
Like  the  old  prophet  Elias,  he  was  to  turn  the  hearts 
of  the  people  to  God,  and  to  prepare  the  way  for 
the  Christ.  As  a  sign  that  the  angel's  words  were 
true,  Zacharias  was  stricken  dumb  until  his  son  was 
born.  Then  "  his  tongue  was  loosed,  and  he  spake 
and  praised  God." 

The  neighbors  marvelled  at  the  mystery  of  John's 
birth,  and  they  saw  that  "  the  hand  of  the  Lord  was 
with  him."  "  And  the  child  grew  and  waxed  strong 


11  TUSCAN   SCULPTUi; 

in  spirit,"  until  he  came  to  manhood.1  Then  was 
fulfilled  the  angel's  prophecy  concerning  him.  He- 
became  a  great  preacher,  and  multitudes  flocked  to 
hear  him. 

John's  manner  of  life  was  like  that  of  a  hermit. 
He  dwelt  in  the  wilderness  about  the  river  Jordan, 
wearing  a  garment  of  camel's  hair  bound  about  his 
loins  with  a  leathern  girdle.  His  food  was  locusts 
and  wild  honey.  He  gathered  his  audiences  in  the 
open  air  and  baptised  his  disciples  in  the  river. 

Though  stern  in  his  teachings  he  became  for  a 
time  very  popular.  Yet  he  always  spoke  of  his 
own  work  with  great  humility.  "There  coim-th 
one  mightier  than  I  after  me,"  he  said.2  This  was 
Jesus,  who,  on  presenting  himself  for  baptism,  was 
greeted  by  John  as  the  "  Lamb  of  God."  The 
prophet's  mission  was  now  accomplished.  He  was1 
soon  after  thrown  into  prison  and  beheaded,  at  tin- 
order  of  King  Herod,  whose  sins  he  had  openly 
rebuked. 

The  story  of  the  Baptist's  life  brings  readily  be- 
fore the  imagination  the  strange  figure  of  the  man.3 
It  is  not  so  easy  to  fancy  how  he  might  have  looked 
as  a  boy.  The  bas-relief  of  our  illustration  shows 
us  what  form  the  idea  took  in  the  mind  of  the 
sculptor  Donatello. 

The  little  fellow  seems  tall  and  slender  for  his 

1  The  circumstances  of  John's  birth  are  related  in  the  first  t-1 
Luke,  from  which  the  quotations  are  drawn. 

*  St.  Mark,  chapter  i.,  verse  7. 

*  See  the  pictures  of  St.  John  the  Baptist  in  the  volumes  on  Titian 
and  Correggio  in  the  Riverside  Art  Series. 


John  Andrew  4  Son,  So. 


ST.  JOHN  THE  BAPTIST  (DONATELLO) 
Natio>uil  A/HSi'itm,  Florence 


ST.  JOHN  THE  BAPTIST  17 

years,  as  if  he  had  stretched  his  limbs  by  running 
much  in  the  open  air.  The  face  is  somewhat 
serious,  but  perfectly  childish.  The  lips  are  parted 
in  a  half  smile.  He  has  a  good  forehead,  and  is  an 
independent  thinker.  He  impresses  us  as  a  straight- 
forward character,  a  boy  to  like  and  trust. 

It  would  be  too  much  to  say  that  he  shows  the 
making  of  a  great  man.  It  is  enough  that  he  is  an 
honest,  healthy  boy  with  a  mind  of  his  own.  He  is 
hardly  pretty,  but  he  is  very  interesting.  The  hair 
is  his  most  charming  feature,  waving  in  little  ten- 
drils over  the  head.  He  is  not  plump  enough  for 
his  figure  to  show  fine  curves.  On  the  contrary, 
the  modelling  is  on  rather  severe  lines,  as  if  in  keep- 
ing with  the  character. 

Certain  well  understood  signs  show  who  he  is. 
The  circle  about  his  head  is  the  halo,  the  symbol 
of  a  sacred  character.  The  skin  garment  fastened 
at  the  shoulder  reminds  us  of  the  strange  clothing 
John  wore  in  the  desert.  The  tall  cross  is  the  em- 
blem of  the  prophet,  as  a  forerunner  of  the  crucified 
one. 

Donatello's  art  covered  a  wide  range  of  subjects, 
but  in  none  was  he  more  at  home  than  in  represent- 
ing children.  He  has  been  called  "  the  poet  of 
child-life."  There  are  interesting  points  of  com- 
parison between  the  example  before  us  and  the 
Musical  Angels  of  the  altar  at  Padua.  St.  John 
the  Baptist  is  evidently  a  real  little  boy,  transferred 
to  the  stone  just  as  he  was.  The  piping  angels,  on 
the  other  hand,  are  child  ideals,  without  counterpart 


18  TUSCAN  SCULPTURE 

in  real  life.  St.  John's  large  ear,  with  its  irregu- 
larly bent  rim,  and  his  straight  upper  lip,  are  fea- 
tures such  as  an  artist  must  certainly  have  copied, 
not  invented.  The  angel  faces,  on  the  other  hand, 
are  moulded  in  the  perfect  curves  which  originate 
in  the  imagination  of  the  artist.  Donatello  was, 
above  all  things  else,  a  close  student  of  human 
nature.  Sometimes,  indeed,  he  chose  very  unat- 
tractive models,  and  reproduced  them  so  faithfully 
that  the  realism  is  almost  painful.  His  artistic  eye 
was  always  open  to  new  impressions.  Perhaps,  one 
day  as  he  walked  through  the  streets  of  Florence, 
he  noticed  among  the  children  playing  there  this 
little  fellow  of  the  long  neck  and  pensive  face. 
"  Ecco,"  said  he,  to  himself,  "  il  Giovannino." ! 
The  child's  face  and  bearing  had  a  quaint  serious- 
ness precisely  suited  to  the  character. 

It  is  wonderful  how  the  sculptor's  art  has  made 
the  little  boy  seem  actually  alive  in  tbe  bas-relief. 
The  hair  is  executed  with  the  skill  peculiar  to  Dona- 
tello, and  seems  to  grow  from  the  head.  Such 
studies  from  real  life  —  genre  studies,  as  they  arc 
called  —  were  lessons  which  prepared  the  artist  for 
higher  works  of  idealism.  The  little  St.  John  may 
have  been  the  original  material  for  some  of  the  angel 
figures. 

1  "  There  is  the  little  John." 


IV 

THE    INFANT    JESUS    AND    ST.    JOHN 
BY  MINO   DA  FIESOLE 

JESUS  and  St.  John  the  Baptist  were  of  nearly  the 
same  age,  and  there  was  a  peculiar  tie  between  them. 
Their  mothers,  Mary  and  Elizabeth,  were  cousins, 
and  before  the  boys  were  born  the  two  women  had 
confided  in  each  other  their  hopes  for  the  future  of 
their  children.  Angelic  messengers  had  predicted  a 
remarkable  destiny  for  both  boys.  Jesus  was  to  rule 
over  an  everlasting  kingdom,  and  John  was  to  be 
his  prophet  preparing  the  way  for  him.  These 
were  secrets  which  the  outside  world  could  not  have 
understood,  and  Mary  paid  a  visit  to  her  kinswoman 
that  they  might  talk  of  them  together. 

As  John's  home  was  in  the  hill  country  and  Jesus 
was  born  in  the  town  of  Bethlehem,  we  do  not  know 
how  soon  the  boys  met.  It  might  be  supposed  that 
Mary  and  Elizabeth  would  be  eager  to  bring  them 
together.  While  the  mothers  took  council  on  the 
training  of  their  sons,  the  children  would  be  at  play. 

The  little  ones  were,  we  believe,  brought  up  quite 
simply,  with  no  sense  that  they  were  different  from 
other  children.  Jesus  was  a  natural  leader.  We 
remember  how  he  surprised  his  mother  at  the  age 


20  TUSCAN  SCULPTURE 

of  twelve  by  asserting  his  own  judgment.1  Among 
his  playfellows  he  must  have  shown  much  earlin- 
that  he  was  the  one  to  take  the  first  place.  John 
was  doubtless  taught  by  his  mother  to  defer  to  his 
little  cousin.  He  was  not  lacking  in  spirit  .himself, 
but  he  could  sometimes  be  very  humble.  In  his 
manhood  he  spoke  of  Jesus  as  one  whose  shoe's 
latchet  he  was  not  worthy  to  unloose.2 

It  is  pleasant  to  picture  the  two  children  together 
in  our  fancy,  and  we  do  not  wonder  that  artists  have 
liked  the  subject.3  Our  illustration  shows  us  the 
theme  wrought  in  marble.  The  child  Jesus  sits  on 
the  steps,  and  the  little  St.  John  approaching  kneels 
in  adoration.  We  see  at  once  the  religious  meaning 
of  the  artist :  the  relation  between  the  two  in  after 
life  is  foreshadowed  in  this  imaginary  incident. 
Each  child  carries  the  symbol  of  his  character.  A 
halo  behind  the  head  of  Jesus  signifies  his  divine 
origin.  He  holds  on  his  knee  a  globe  surmounted 
by  a  cross,  in  token  that  he  who  was  crucified  shall 
be  the  ruler  of  the  world.  In  the  symbol  of  the 
globe  the  old  artists  anticipated  the  later  discoveries 
of  science  as  to  the  form  of  the  earth.  Some  of  the 
ancient  philosophers  had  taught  that  the  earth  is  a 
sphere,  and  through  the  writings  of  Aristotle  the 
belief  was  spread  among  the  scholars  of  the  Middle 
Ages.4  That  the  idea  made  its  way  into  art  is  per- 

1  St.  Luke,  chapter  ii.,  verse  49.     *  St.  Luke,  chapter  iii.,  verse  16. 

3  See  Chapter  IX.,  <>n  the  "Children  of  the  Shell,"  in  the  volume 
on  Murillo  in  the  Riverside  Art 

4  Tliis  is  on  the  authority  of  a  French  writer,  A.  .lonrdnin,  quoted 

li.mi  II.  Tillinghast  in  an  essay  on  the  "Geographical  Know- 


THE  INFANT  JESUS  AND  ST.  JOHN  23 

haps  because  the  sphere  is  the  most  perfect  and 
beautiful  form,  and  hence  the  fitting  symbol  of 
God's  created  work.1 

St.  John  carries  the  cross,  which  is  his  usual  em- 
blem as  a  prophet  of  Christ.  It  is  tall  and  slender 
because  it  was  supposed  to  be  made  of  reeds.  The 
reference  is  to  Jesus's  words  concerning  John  when 
asking  the  people  if  they  had  sought  the  prophet 
merely  as  "  a  reed  shaken  by  the  wind." 

The  infant  Jesus  is  a  vigorous  child,  straight  and 
perfectly  formed.  The  little  St.  John  is  an  older 
and  taller  boy,  wearing  a  tunic.  The  younger  child 
is  delighted  to  have  a  playfellow.  There  is  an  eager 
smile  on  his  face,  and  he  puts  out  his  right  hand  as 
if  he  Jonged  to  take  the  curious  plaything  St.  John 
carries.  Both  children  are  plump,  with  well-shaped 
heads,  but  there  is  nothing  precocious-looking  about 
either.  They  are  indeed  uncommonly  pretty,  but 
for  the  rest  are  like  other  children,  eying  each  other 
somewhat  shyly  in  the  early  stages  of  acquaintance. 
It  will  not  be  long  before  they  are  the  best  of  friends. 

The  figures  in  our  illustration  form  a  part  of  a 
marble  altar-piece  by  Mino  da  Fiesole.  The  whole 
composition  consists  of  three  niches  approached  by 

ledge  of  the  Ancients,"  in  the  Narrative  and  Critical  History  of  Amer- 
ica. In  the  same  essay  an  anonymous  poem  of  the  thirteenth  cen- 
tury is  quoted  to  show  the  prevalent  belief  in  the  sphericity  of  the 
earth. 

1  In  Didron's  Christian  Iconography,  several  interesting  illustra- 
tions from  old  miniatures,  etc.,  show  the  globe  in  the  hand  of  the  Cre- 
ator. It  is  curious  that  this  supposedly  exhaustive  authority  on 
church  symbolism  gives  no  account  pf  the  origin  and  history  of  this 
emblem. 


24  TUSCAN  SCULPTURE 

steps.  In  the  central  compartment  kneels  the  mo- 
ther Mary,  adoring  with  folded  hands  the  child,  who 
sits  below  her.  We  see  in  our  picture  only  the  lower 
part  of  her  dress  behind  the  Christ  child.  In  the  side 
niches  are  figures  of  saints,  the  little  St.  John  kneel- 
ing in  front  of  the  one  on  the  Madonna's  right. 

Mino  da  Fiesole  has  been  called  "  The  Raphael 
of  sculpture,"  and  his  work  in  this  altar-piece  illus- 
trates the  fitness  of  comparing  him  with  the  great 
painter.  Especially  do  the  figures  of  the  two  chil- 
dren here  remind  us  of  the  child  ideals  of  Raphael. 
At  the  time  when  this  work  was  executed  (1462) 
painters  and  sculptors  had  just  begun  to  represent 
the  Christ  child  undraped.  The  earlier  artists  had 
always  shown  the  little  figure  clad  in  a  tunic.  We 
shall  presently  see  how  this  old  custom  was  still  fol- 
lowed in  bas-reliefs  of  the  Madonna  and  Child  by 
Luca  della  Robbia  and  Rossellino.  The  more  pro- 
gressive artists  were  unwilling  to  conceal  the  beauty 
of  the  child's  figure  by  any  sort  of  dress.  By  the 
beginning  of  the  sixteenth  century  the  old  way  had 
entirely  given  place  to  the  new.1 

In  our  picture  we  see  that  a  Latin  inscription  on 
the  base  of  the  lowest  step  contains  the  name  of 
Leonardo  Salutati,  bishop  of  Fiesole.2  It  was  by  the 
order  of  this  bishop  that  the  altar  was  executed,  as 
was  also  the  tomb  opposite  it  in  the  cathedral  of 
Fiesole. 

1  See  Madonna  pictures  by  Raphael,  Titian,  Correpgio,  and  Michel- 
angelo in  other  volumes  of  the  Riverside  Art  Series. 

*  Eps,  with  the  curious  mark  above,  stands  for  epiicoptu. 


BOYS    WITH    CYMBALS 
BY   LUCA   DELLA   ROBBIA 

THE  bas-relief  of  our  illustration  is  one  of  a  series 
of  marble  panels  designed  to  ornament  the  singing- 
gallery  of  a  church.  '  The  children  moving  forward 
with  song  and  cymbal  remind  us  of  the  bands  of 
singers  and  musicians  who  took  part  in  religious 
processions  of  ancient  times.  We  read  of  such  pro- 
cessions among  both  the  Greeks l  and  the  Hebrews.2 

The  custom  of  singing  was  adopted  by  the  Chris- 
tian church  from  its  foundation,3  and  gradually  the 
musical  part  of  the  service  was  developed  into  a  fine 
art.  There  was  a  famous  system  of  choral  chanting 
under  Pope  Gregory  I.,4  and  in  the  eleventh  century 
part  singing  was  introduced.  At  length  the  organ 
came  into  use,  and  by  the  fifteenth  century  it  had 
become  an  important  part  of  the  church  furnishings. 

It  was  early  in  this  century  when  the  wardens  of 
the  cathedral  at  Florence  had  an  organ  constructed 
on  what  the  old  writer  Vasari  called  "  a  very  grand 

1  See  Chapter  III.  in  the  volume  on  Greek  Sculpture  in  the  River- 
side Art  Series. 

2  Psalm  Ixviii.,  verse  25,  and  1  Chronicles,  chapter  xiii.,  verse  8. 
8  St.  Matthew,  chapter  xxvi.,  verse  30. 

4  The  pontificate  of  Gregory  I.  was  from  590  to  604. 


26  TUSCAN  SCULPTURE 

scale."  In  connection  with  this  an  organ  loft,  such 
as  the  Italians  call  a  rt/nfuria,  was  needed  to  accom- 
modate the  singers.  The  Florentine  sculptor,  Luca 
della  Robbia,  received  the  order  for  this  work,  and 
was  occupied  with  it  some  nine  years  (1431-1440). 

The  cantoria  is  entirely  of  marble,  built  like  a  bal- 
cony, with  the  upper  part  or  balustrade  supported 
on  five  consoles  or  brackets.  Four  square  bas-re- 
liefs, separated  by  pilasters,  ornament  the  front  of 
the  balustrade,  and  four  more  fill  the  corresponding 
spaces  below,  separated  by  the  consoles.  The  artist 
took  as  the  motive  of  his  decorative  scheme  the  one 
hundred  and  fiftieth  psalm.  This  hymn  of  praise 
furnished  his  imagination  with  a  series  of  pictures 
illustrating  many  kinds  of  music.  The  entire  psalm 
is  quoted  in  the  Latin  version  on  the  gallery,  the 
inscriptions  running  in  narrow  bands  across  the  top 
and  bottom  and  between  the  two  rows  of  panels. 
These  are  the  verses  in  the  familiar  English  version 
of  King  James,  grouped  in  the  three  sections  into 
which  they  are  divided  :  — 

"  Praise  God  in  his  sanctuary  : 

praise  him  in  the  firmament  of  his  power. 
Praise  him  for  bis  mighty  acts  : 

praise  him  according  to  his  excellent  greatness. 

Praise  him  with  the  sound  of  the  trumpet : 

praise  him  with  the  psaltery  and  harp. 
Praise  him  with  the  timbrel 

and  dance : 

praise  him  with  stringed  in-tniim-iits  and  organs. 
Praise  him  upon  the  loud  cymbals  : 
praise  him  upon  the  high  sounding  cymbals. 


John  Andrew  \  Sou,  -o. 


BOYS  WITH  CYMBALS  (LUCA  BELLA  ROl'.lilA) 
The  Ditoino,  Flortnct! 


BOYS  WITH  CYMBALS  29 

Let  everything  that  hath  breath 
praise  the  Lord." 

The  eight  illustrations  of  the  gallery  omit  nothing 
mentioned  by  the  psalmist.  Here  are  the  trumpets, 
the  harp,  the  psaltery,  and  the  timbrel.  Here  is  the 
choric  dance,  followed  by  players  on  organs  and 
stringed  instruments ;  after  these  come  the  loud  cym- 
bals or  tambourines,  and  finally  the  "  high  sounding 
cymbals  "  of  our  illustration. 

The  players  are  a  half  dozen  children,  some  dressed 
in  tunics,  and  others  wearing  scarf-like  garments 
which  leave  their  limbs  free.  Two  are  crowned  with 
flowers  in  the  Greek  fashion,  and  others  have  a  fillet 
or  band  bound  about  the  hair.  The  leader  walks 
with  his  head  thrown  back,  his  mouth  wide  open, 
singing  with  all  his  might,  oblivious  of  everything 
but  his  music.  He  holds  the  cymbals  high,  striking 
them  together  in  the  rhythm  of  his  song.  His  com- 
panion is  a  jolly  little  fellow,  not  at  all  concerned  in 
the  music,  but  laughing  at  something  which  attracts 
his  attention  in  the  distance.  , 

There  is  another  rogue  just  behind  the  leader. 
Without  losing  step  he  throws  his  weight  forward 
on  bending  knee,  putting  his  ear  to  the  upper  cym- 
bal. He  is  evidently  amusing  himself  with  the  lin- 
gering vibrations  of  the  metal.  The  flower-crowned 
boy  bringing  up  the  rear  smiles  at  us  cheerily,  as  he 
steps  along,  clashing  his  cymbals  with  right  good- 
will. The  children  in  the  background  seem  to  take 
their  task  more  seriously,  as  if  sharing  the  spirit  of 
the  leader. 


30  TUSCAN  SCULPTUKK 

It  is  clear  that  our  artist  found  the  models  for 
his  figures  in  the  streets  of  Florence.  These  round- 
faced  children  with  their  large  mouths  are  not  pretty 
enough  for  imaginary  types.  They  are  perfectly 
natural,  and  that  is  why  we  like  them. 

The  grouping  is  skilfully  planned  to  give  unity 
to  the  composition  without  any  stiffness.  There  are 
no  awkward  gaps  between  the  figures,  but  the  lines 
flow  from  one  to  another,  binding  them  together. 
The  half  kneeling  posture  of  the  child  in  the  mid- 
dle makes  diagonal  lines  to  unite  the  leader  with  the 
boy  in  the  rear.  We  notice  in  the  drawing  the  same 
sweep  of  line  which  we  have  admired  in  Donatello's 
bronze  reliefs  of  angels.  The  three  figures  in  front 
are  modelled  in  high  relief,  and  in  beautiful  curves ; 
the  children  in  the  rear  are  in  low  relief. 

The  work  of  Luca  della  Robbia  was  not  confined 
to  marble.  Soon  after  completing  the  organ  gallery 
he  made  a  bronze  door  for  the  interior  of  the  cathe- 
dral. He  is  best  known  for  his  work  in  enamelled 

terra-cotta,  of  which  we  shall  hear  more  in  later 

i 

chapters. 


VI 

TOMB    OF    ILARIA    DEL    CARRETTO 

(Detail) 

BY  JACOPO   BELLA   QUEKCIA 

A  CERTAIN  marquis  of  Carretto,  living  in  Lucca 
at  the  close  of  the  fourteenth  century,  had  a  daugh- 
ter named  Ilaria.  ^Ilaria  was  like  Helen  of  Troy, 
"  a  daughter  of  the  gods,  divinely  tall  and  most 
divinely  fair." *  Her  face  was  delicately  cut  in  a 
patrician  mould,  and  she  carried  her  head  with  the 
air  of  a  princess.  The  marquis  must  have  been 
proud  of  his  beautiful  daughter,  and  as  she  grew 
into  womanhood  he  looked  about  for  a  suitable 
match  for  her.  There  was  little  romance  about 
marriages  in  those  days,  and  when  a  rich  widower 
sought  Ilaria's  hand,  she  was  doubtless  thought  by 
all  a  very  fortunate  maiden. 

Her  husband,  Paolo  Guinigi,  was  the  signer  or 
lord  of  the  city  of  Lucca,  and  though  somewhat 
despotic  in  temper  was  at  least  without  vices.  He 
was  besides  the  richest  man  in  Italy.  In  his  trea- 
sury, says  the  historian,  "  diamonds  and  rubies, 
emeralds  and  pearls,  were  counted  by  hundreds." 
The  palace  awaiting  the  bride  was  magnificently 

1  Tennyson's  "  A  Dream  of  Fair  Women." 


32  11  SCAN  SCULI'Tl  i 

furnished.  There  was  linen  from  Paris  and  other 
Fri-nrli  cities,  exquisite  in  quality  and  in  stores  so 
abundant  as  to  delight  the  heart  of  a  housewife. 
The  walls  were  hung  with  tapestries  of  many  colors 
woven  in  Arras.  Priceless  vessels  of  gold  and 
silver  adorned  the  table.  Nor  were  signs  of  learn- 
ing lacking.  There  was  a  library,  well  stocked  with 
the  works  of  classical  authors,  written  in  manuscript 
in  the  manner  of  the  times. 

So  far  as  surroundings  make  for  happiness  Ilaria 
may  well  have  been  a  happy  woman.  We  like  to 
fancy  her  queenly  figure  moving  through  the  stately 
apartments  of  the  palace  or  on  the  green  terraces 
of  the  garden.  But  she  did  not  long  enjoy  the 
splendors  of  her  surroundings,  for  two  years  after 
her  marriage  she  died.  Her  husband  then  ordered 
of  the  sculptor  Jacopo  della  Quercia  a  marble  tomb 
to  be  placed  in  the  cathedral.  On  the  sarcophagus 
lay  the  portrait  figure  of  the  lady  herself ;  the  sides 
were  richly  carved  with  cherubs  holding  festoons  of 
flowers,  and  above  was  a  canopy. 

Ilaria  lies  with  hands  crossed  just  where  they 
would  naturally  fall  in  her  sleep.1  Her  feet  rest 
against  a  little  dog,  which,  according  to  the  old 
\\riter,  Vasari,  was  an  emblem  of  conjugal  fidelity. 
It  is  surely  no  harm  to  fancy  that  the  little  creature 
was  the  lady's  pet.  The  gown  is  girdled  hi^h.  and 
falling  in  long,  straight  folds,  is  wrapped  about  the 
feet.  Over  this  is  worn  a  mantle  made  with  large, 

1  Nut  "  folded  below  her  bosom,"  nor  "  laid  on  her  breast,"  as  in 
two  familiar  descriptions. 


o 

H     « 

W     * 


W  "^ 

Q  r^ 

<  ° 

2 


TOMB  OF  1LARIA  DEL  CARRETTO  35 

loose  sleeves,  and  a  high  flaring  collar,  which  comes 
well  up  under  the  chin.1 

Our  illustration  shows  only  the  head  and  shoul- 
ders of  the  figure.  The  head  rests  on  a  pillow  in  a 
hollow  shaped  to  receive  it,  and  the  shoulders  are 
supported  by  a  second  and  larger  cushion  under- 
neath. Ilaria's  waving  hair  is  parted  over  the  high 
brow,  and  brought  down  on  each  side  the  face, 
completely  concealing  the  ears.  A  few  short  ten- 
drils have  escaped,  and  curl  daintily  over  the  fore- 
head. She  wears  a  large  flower-wound  wreath  or 
crown,  set  aslant  over  the  shapely  head.  It  may  be 
that  this  is  a  sort  of  head-dress  worn  in  her  time. 
No  one  can  look  at  the  face  without  thinking  of  a 
flower,  and  most  of  all  of  the  lily.  The  mouth  is 
moulded  in  exquisite  curves ;  Ilaria  was,  indeed,  a 
bewitching  woman. 

Had  the  Jair  marchioness  lived  to  middle  age  her 
fortunes  would  have  been  sadly  altered.  In  1430 
there  was  a  political  upheaval  in  Lucca,  and  Guinigi 
was  driven  from  the  city.2  His  palace  was  pillaged, 
and  the  mob  even  laid  desecrating  hands  upon 
Ilaria's  tomb.  An  attempt  to  remove  it  seems  to 
have  been  frustrated,  and  it  was  dropped  on  the 
floor  of  the  transept,  where  it  now  stands.  It  lost, 

1  That  this  mantle  was  a  prevailing  style  of  the  period  among  the 
aristocracy,  we  judge  from  an  old  Spanish  painting,  in  which  King 
Ferdinand  of  Aragon  and  his  queen  both  wear  it.     The  picture  is 
reproduced    in   Carderara's    Iconografia   Espanola,   and   copied    in 
Blanche's  Cyclopedia  of  Costumes. 

2  The  exact  date  is  here  given  because  of  the  vagueness  of  some 
writers  who  refer  to  the  event  as  "  not  many  years  "  and  "  within 
twenty  years  "  after  Ilaria's  death  in  1405. 


36  TUSCAN  SCULPTUR1 

however,  the  canopy  and  one  ornamented  side  of 

tin-  IMM-. 

As  a  work  of  art,  llaria's  tomh  has  been  greatly 
admired  by  critics.  Even  in  our  little  picture  we 
can,  with  no  great  training,  see  how  well  the  sculptor 
has  rendered  the  texture  of  the  hair  and  the  soft- 
ness of  the  plump  chin.  Even  the  tassels  on  the 
cushion  are  carved  with  clever  imitative  skill.  We 
must  be  careful  to  look  at  the  face  just  as  the  sculp- 
tor intended  it  to  be  seen,  not  upright,  but  lying 
horizontally.  It  is  only  thus  that  we  get  the  sig- 
nificance of  the  beautiful  continuous  line  across  fore- 
head and  nose.  The  line  of  the  head-dress  exactly 
follows  that  of  the  hair,  and  is  drawn  at  the  same 
angle  as  the  edge  of  the  collar,  which  it  meets.  In 
the  triangular  space  thus  formed  is  fitted  the  lovely 
profile  of  the  face.  Ruskin  has  written  with  much 
enthusiasm  of  the  merits  of  llaria's  tomb.  From 
it,  he  declared,  one  may  receive  "  unerring  canon  of 
what  is  evermore  lovely  and  right  in  the  dealing  of 
the  art  of  man  with  his  fate  and  his  passions." 
Still  more  helpful  is  his  interpretation  of  the  feel- 
ing which  the  sculptor  has  conveyed.  After  first 
explaining  that  "every  work  of  the  great  Christian 
schools  expresses  primarily  conquest  over  death," 
lie  shows  that  this  particular  tomb  has"  all  the  peace 
of  the  Christian  eternity."  We  may  see,  he  says, 
"  that  the  damsel  is  not  dead  but  sleepeth  ;  yet  as 
visibly  a  sleep  that  shall  know  no  ending  until  the 
lay  break  and  the  last  shadows  flee  away." 

toted  by  Sydney  Colvin  in  an  article  on  Jacupo  dclla  Quercia, 
in  tl;.  .  1883.     See  also  Modern  Painters,  Part  III. 


VII 

MADONNA   AND    CHILD 

(Detail  of  lunette) 

BY   LUCA   BELLA   KOBBIA 

IN  reading  the  gospel  narrative  of  the  life  of 
Jesus  we  are  glad  to  learn  something  of  his  mother 
Mary.  Her  life  had  some  peculiar  hardships  to  test 
the  strength  of  her  character.  It  was  a  strange  lot 
for  a  mother  to  have  to  tend  her  babe  in  the  manger 
of  an  inn,  but  such  was  Mary's  experience.  At  the 
time  of  Jesus's  birth  she  and  Joseph  were  in  Beth- 
lehem, whither  they  had  come  to  pay  their  taxes. 
There  were  many  other  people  there  on  the  same 
errand,  and  the  inn  was  so  crowded  that  the  young 
mother  had  to  find  quarters  in  the  stable. 

While  the  child  was  still  very  young  a  terrible 
danger  threatened  his  life.  An  order  went  forth 
from  King  Herod  to  slay  all  the  young  children  of 
Bethlehem.  Still  the  mother's  courage  did  not  fail. 
She  arose  by  night,  and,  taking  her  babe,  fled  with 
her  husband  into  Egypt.  Returning  at  length  to 
their  home  in  Nazareth,  she  watched  her  boy's 
growth,  and  kept  all  his  sayings  in  her  heart. 

When  Jesus  entered  upon  his  ministry  Mary  was 


38  TUSCAN  SCULPTUK! 

the  first  to  show  perfect  confidence  in  her  son.1 
She  seeinsto  have  followed  him  \vhem-ver  she  could. J 
Her  courage  sustained  her  even  in  the  hour  of  his 

D 

agony,  and  we  read  how  she  stood  with  his  disciples 
at  the  foot  of  the  cross.3 

It  is  this  woman  of  quiet  fortitude  whom  we  see  in 
Luca  della  Robbia's  bas-relief  of  the  Madonna  and 
Child.  We  are  impressed  at  once  with  a  sense  of 
her  strength  and  poise  of  character.  It  is  precisely 
such  as  fits  the  story  of  her  life.  Steadying  her  little 
boy  with  both  hands,  she  turns  her  face  in  the  direc- 
tion in  which  he  is  looking.  The  Child  seen 
stand  on  a  sort  of  balustrade  in  front  of  his  mother. 
With  feet  wide  apart  he  holds  himself  erect  in  a  firm 
posture.  His  right  hand  is  raised  in  a  gesture  of 
benediction.  With  his  left  he  grasps  firmly  a  long 
scroll  bearing  the  Latin  inscription,  "  Ego  sum  Lux 
Mundi "  (I  am  the  Light  of  the  World). 

Both  mother  and  child  seem  to  belong  to  the 
happy,  every-day  working  world.  Mary  has  the 
straight  figure,  full  throat,  and  square  shoulders  of 
a  Tuscan  peasant  girl.  Her  only  aristocratic  feature 
is  the  shapely  hand.  She  holds  her  chin  level,  like 
a  country  maiden  used  to  carrying  burdens  on  the 
head.  It  may  be  that  the  artist  had  seen  her  like 
in  some  market-place  in  Florence.  The  boy  too  has 
the  square  shoulders  and  sturdy  frame  of  a  child  of 
the  people. 

1  At  the  Marriage  of  Cana,  St.  Jolm,  chapter  ii.,  verses  3-6. 

*  St.  John  ii.,  verse  12,  and  St.  Matthew,  chapter  xii.,  verse  46. 

•  St.  John,  chapter  xii.,  verse  25. 


MADONNA  AND  CHILD  (LUCA  DELLA  ROBBIA) 
Shop  in  Ike  Via  dell '  Agnolo,  Florence 


MADONNA  AND   CHILD  41 

Some  artists  have  tried  to  give  a  supernatural  and 
ethereal  beauty  to  the  mother  and  child.  Others 
have  represented  them  enthroned  in  splendor  like  a 
queen  and  prince  receiving  their  court.  Luca  della 
Robbia  went  to  no  such  extremes.  There  is  nothing 
morbid  or  sentimental  in  his  art :  nor  does  he  care 
for  any  worldly  pomp  and  ceremonial.  His  religious 
ideals  were  very  simple,  suited  to  the  needs  of  com- 
mon life.  The  Christ  child  here  is  a  dear  little 
human  baby,  and  the  Madonna  is  the  poet's  ideal 
of  "  a  creature  not  too  bright  or  good  for  human 
nature's  daily  food."  1 

The  bas-relief  is  one  of  the  famous  works  in  enam- 
elled terra-cotta,  known  as  "Delia  Robbia  ware." 
The  idea  of  overlaying  clay  with  a  glazing  was  not 
original  with  Luca  della  Robbia,  but  he  seems  to 
have  been  the  first  to  apply  it  to  sculpture.  In  his 
own  day  he  was  looked  upon  as  a  great  inventor, 
and  his  works  were  very  popular.  The  material  was 
inexpensive,  and  lent  itself  readily  to  all  sorts  of 
decorative  purposes.  Its  beauty,  moreover,  was  of  a 
lasting  quality.  While  paintings  fade,  the  Della 
Robbia  ware,  "gem  like,  shall  as  very  gems  en- 
dure." The  only  injury  to  which  it  is  liable  is  the 
breaking  off  of  some  projecting  portions.  In  our 
picture  we  see  that  a  fragment  is  broken  out  of  the 
child's  wrist.  Fortunately,  however,  there  are  no 
defects  in  the  important  parts  of  the  work. 

1  Wordsworth's  "  She  was  a  Phantom  of  Delight." 

2  From  some  verses  by  Edith  M.  Thomas,  "  A  Delia  Robbia  Gar- 
land," printed  in  The  Critic,  December,  1901. 


42  TUSCAN  SCULPTUKK 

The  figures  are  in  the  centre  of  a  lunette  or  semi- 
circular composition,  with  an  adoring  angel  on  each 
side  holding  a  jar  of  lilies.  The  piece  is  set  up  over 
a  doorway  on  the  outside  of  a  building  in  a  narrow 
street  in  Florence.  The  location  explains  the  atti- 
tude of  the  mother  and  child.  If  they  looked  di- 
rectly out  of  the  picture  as  in  an  altar-piece,  there 
would  be  but  one  place,  on  the  opposite  side  of  the 
street,  where  the  passer-by  could  meet  their  eyes. 
As  it  is,  they  turn  their  faces  toward  the  vista  of 
the  street  as  if  to  welcome  the  approaching  wayfarer. 
While  still  a  long  way  off  one  feels  the  cheerful 
influence  of  their  gaze.  Even  when  coming  from 
the  opposite  direction  it  is  pleasant,  after  passing  the 
door,  to  know  that  the  friendly  eyes  follow  us  on 
our  way. 

The  workmanship  of  Luca  is  seen  in  the  artistic 
qualities  of  the  sculpture.  There  was  a  severe 
simplicity  in  his  drawing  of  the  outline  and  dra- 
peries which  contrasted  with  the  more  elaborate  work 
of  his  followers.  Luca  was  also  a  close  student  of 
nature,  and  drew  his  materials  from  the  world  about 
him. 


vm 

THE    MEETING    OP   ST.    FRANCIS    AND    ST.    DOMINICK 

BY   ANDREA   BELLA   ROBBIA 

IN  the  beginning  of  the  thirteenth  century  two 
men  living  in  different  countries  of  Europe  were 
struck  simultaneously  with  the  same  idea.  They 
were  St.  Dominick,  the  Spaniard,  and  St.  Francis, 
the  Italian,  and  each  determined  to  found  a  new 
religious  order.1  Hitherto  the  members  of  religious 
orders  had  shut  themselves  up  in  the  solitude  of 
monasteries  and  convents.  In  the  new  plan  they 
were  to  mingle  freely  with  the  people,  calling  them- 
selves brothers,  or  friars. 

The  first  object  of  the  Dominicans  was  to  be 
preachers,  and  they  were  called  Frati  Predicatori. 
The  Franciscans  took  the  humbler  name  of  the  Frati 
Minori,  or  lesser  brothers.  The  members  of  both 
orders  were  bound  by  a  vow  of  poverty  to  possess 
nothing  of  their  own.  Like  the  disciples  whom 

1  The  lives  of  both  saints  are  related  in  The  Golden  Legend.  In 
Caxton's  translation  (Temple  Classics)  see  volume  iv.,  p.  172,  for  St. 
Dominick,  and  volume  v.,  p.  215,  for  St.  Francis.  Mrs.  Jameson's 
Legends  of  the  Monastic  Orders  contains  an  admirable  account  of  the 
character  and  work  of  the  two  men.  The  Little  Flowers  of  St.  Francis  is 
a  series  of  legends  collected  about  two  hundred  years  after  his  death. 
There  is  an  English  translation  by  Abby  Langdou  Alger.  Sabatier's 
Life  of  St.  Francis  is  an  exhaustive  biography. 


44  TUSCAN  SCULPTURE 

Jesus  sent  out,  they  were  to  carry  neither  purse  nor 
scrip,  but  beg  their  food  and  raiment  on  their  way. 
It  is  for  this  that  they  are  called  mendicant  orders. 

The  affairs  of  their  orders  brought  both  St.  Dom- 
inick  and  St.  Francis  to  Rome  at  the  same  time. 
The  two  men  met  and  embraced,  each  seeing  in  the 
other  a  kindred  spirit.  It  was  proposed  to  unite  the 
two  bodies  in  one,  and  St.  Dominick  favored  this 
plan.  He  had  won  but  a  few  followers,  and  St. 
Francis  already  had  many.  The  Brother  Minor 
however  was  sure  that  such  union  would  be  impossi- 
ble. The  two  men  were  indeed  of  widely  contrast- 
ing characters.  St.  Dominick  was  a  scholar,  a  man 
of  fiery  and  energetic  temperament.  St.  Francis 
was  unlettered,  but  his  mind  was  poetic  and  imagi- 
native,  his  nature  gentle  and  humble.  St.  Dominick 
was  known  as  the  "  Hammer  of  the  Heretics,"  St. 
Francis  as  the  "  Father  of  the  Poor." 

A  bas-relief  by  Andrea  della  Robbia  represents 
the  meeting  of  St.  Dominick  with  St.  Francis.1  It 
is  apparently  the  artist's  intention  to  emphasize  the 
kinship  rather  than  the  contrast  between  the  two 
men.  Both  have  the  thin  faces  and  sharp  features 
of  the  ascetic.  Their  shaven  faces  and  tonsured 
heads  heighten  the  resemblance  between  them. 
Both  have  the  same  type  of  hand,  with  the  lon«j 
fingers  which  are  characteristic  of  a  sensitive  nature.2 

1  A  tradition  that  St.  Francis  and  St.  Dominick  met  in  Florence, 
on  the  site  of  the  present  Loggia  of  S.  Paolo,  accounts  for  the  pla- 
cing of  this  bas-relief  there.  See  the  Misses  Homer's  Walks  in  Flor- 
ence, vol.  i..  p.  448. 

*  The  reader  who  is  familiar  with  the  typical  figure  of  St.  Francis 


ST.  FRANCIS  AND  ST.  DOMINICK  47 

A  disc  over  the  head  of  each  symbolizes  his  saintli- 
ness. 

Naturally  the  characters  of  the  founders  were  im- 
pressed upon  their  respective  orders.  The  Domini- 
cans were  more  aggressive  in  their  methods  and 
zealous  in  persecuting  all  forms  of  heresy.  The 
Franciscans,  on  the  other  hand,  strove  for  the  higher 
life  of  sanctity.  The  members  of  each  order  wore  a 
distinctive  dress,  such  as  we  see  in  our  picture.  The 
Franciscan  habit  was  at  first  gray,  and  afterwards 
dark  brown ;  it  is  gray  in  the  bas-relief.  It  con- 
sisted of  a  plain  tunic  with  long  loose  sleeves  and 
a  scanty  cape  to  which  a  hood  was  attached.  A 
knotted  cord  fastened  the  garment  around  the  waist, 
to  remind  the  wearer  that  the  body  is  a  beast  which 
should  be  subdued  by  a  halter.  The  Dominican 
habit  was  a  white  woollen  gown  fastened  about  the 
waist  with  a  girdle.  A  white  scapular  was  worn 
over  this,  and  over  all,  a  black  cloak  with  a  hood. 

We  see  at  once  in  our  picture  that  St.  Dominick 
is  the  elder  of  the  two  men.  There  was  really  a 
difference  of  twenty  years  in  their  ages,  but  the 
artist  has  made  it  less.  It  is  as  if  each,  upon  see- 
ing the  other  approach,  had  hastened  forward  with 
outstretched  hands.  They  stand  now  face  to  face 
with  interlocked  arms  in  mutual  contemplation.  It 
is  a  moment  of  perfect  understanding.  With  widely 
different  ideas  of  ways  and  means,  they  have  at  heart 

in  sacred  art  may  miss  the  sign  of  the  wound  print  (the  stigmata)  in 
his  hand.  Here  Andrea  is  historically  accurate,  as  the  vision  of  St. 
Francis  occurred  four  years  after  the  confirmation  of  the  Order. 


48  TUSCAN  SCULPTURE 

a  single  common  aim.  Both  are  called  to  the  same 
great  work,  and  each  feels  strengthened  by  the 
contact. 

The  profile  of  St.  Francis  shows  the  sensitive  lines 
of  his  face.  Tradition  tells  us  that  he  was  a  man 
of  more  than  average  height,  with  black  eyes,  and 
soft  sonorous  voice.  His  expression  here  is  serene, 
as  one  would  expect  of  the  gentle  friar  who  called 
all  the  beasts  his  brethren,  and  talked  with  the  birds 
as  familiar  companions.  St.  Dominick  has  a  more 
strenuous  countenance,  and  is  perhaps  more  deeply 
moved  than  the  other.  He  leans  forward  and  peers 
into  St.  Francis's  face  with  an  expression  of  great 
tenderness.  One  is  reminded  of  a  beautiful  verse 
in  one  of  the  Hebrew  psalms  (the  eighty-fifth), 
"  Mercy  and  truth  are  met  together ;  righteousness 
and  peace  have  kissed  each  other." 

The  artistic  qualities  of  this  relief  place  it  among 
the  best  works  by  Andrea  della  Robbia.  Only  a 
skilful  artist  could  have  rendered  the  draperies  with 
such  grace  and  simplicity.  They  have  been  com- 
pared with  the  draperies  of  the  painters  Raphael 
and  Bartolommeo.  It  is  said  that  the  faces  were 
left  unglazed  in  order  that  all  the  lines  of  the  mod- 
elling might  be  preserved. 


IX 

ST.    GEORGE 
BY   DONATELLO 

IN  the  third  century  of  the  present  era  lived  the 
Christian  knight  George  of  Cappadocia.  Going 
forth  after  the  usual  knightly  fashion  in  search  of 
adventures,  he  came  to  the  province  of  Libya.  The 
country  was  at  that  time  ravaged  by  a  dragon  whose 
lair  was  a  great  pond  near  the  royal  city  of  Silene. 
When  the  monster  came  forth  the  air  was  filled  with 
the  poisonous  vapor  of  his  breath.  To  insure  the 
safety  of  the  city  two  sheep  were  daily  given  to  feed 
him. 

At  length  the  supply  failed,  and  now  the  people 
had  to  give  their  own  children.  The  victims  were 
chosen  by  lot,  and  after  many  had  perished  the  lot 
fell  upon  the  beautiful  princess  Cleodoljnda.  The 
king  besought  the  people  to  spare  his  daughter, 
offering  gold  and  silver  for  her  ransom.  They 
would  have  none  of  it,  but  declared  that  the  princess 
must  meet  her  fate.  Arrayed  as  for  her  bridal,  she 
was  led  out  to  the  place  where  the  dragon  was  wont 
to  come  for  his  prey. 

While  she  stood  here  weeping,  St.  George  chanced 
to  ride  by  and  inquired  the  cause  of  her  distress. 


50  TUSCAN  SCULPTURE 

Hearing  her  pitiable  story  he  assured  her  she  had 
nothing  to  fear.  Just  then  the  dragon  came  iu 
sight,  and  the  knight,  charging  full  upon  him, 
wounded  him  with  his  sword.  Then  taking  the 
girdle  of  the  princess,  he  tied  it  about  the  neck  of 
the  beast  and  led  him  into  the  city.  The  people  all 
came  out  to  see  the  wonder,  and  in  the  presence  of 
a  great  company  St.  George  smote  off  the  dragon's 
head. 

The  further  adventures  of  the  knight  were  in 
behalf  of  the  Christians,  who  were  persecuted  by 
the  Emperor  Diocletian.  Selling  all  that  he  had,  he 
gave  it  to  the  poor  and  boldly  denounced  the  pagans. 
All  sorts  of  tortures  were  devised  to  force  him  to 
renounce  his  faith,  but  in  every  persecution  he  was 
miraculously  preserved  from  harm.  At  length  the 
provost  caused  him  to  be  beheaded,  and  offering  his 
last  prayers  St.  George  went  to  his  death. 

In  our  statue  St.  George  is  represented  as  a  war- 
rior standing  at  rest  while  he  surveys  the  enemy. 
His  young  figure  is  as  straight  as  an  arrow.  The 
litheness  of  his  body  is  apparent  even  through  his 
armor.  He  holds  his  head  erect  in  conscious  power, 
yet  with  no  arrogance.  Evidently  he  measures  the 
difficulty  carefully,  for  he  seems  to  knit  his  brows 
as  he  looks  abroad.  He  has  a  gentle  face,  but  it 
is  thoroughly  masculine. 

The  hands  are  beautiful,  and  full  of  character, 
Jarge  and  flexible.  The  left  one  rests  on  a  shield 
which  bears  the  sign  of  the  cross.  The  armor.  \\« 
see,  has  a  more  than  literal  significance.  This  is  the 


John  Andrew  \  >..u,  I 


ST.  GEORGE  (DONATELLO) 
A'at tonal  Museum,  Moreiite 


ST.  GEORGE  53 

"  shield  of  faith  "  wherewith  the  Christian  shall  be 
able  "  to  quench  all  the  fiery  darts  of  the  wicked." 
St.  George  is  the  impersonation  of  the  soldier  who 
wars  "  not  against  flesh  and  blood,  but  against  prin- 
cipalities, against  powers,  against  the  rulers  of  the 
darkness  of  this  world,  against  spiritual  wickedness 
in  high  places." 

The  figure  naturally  suggests  comparison  with 
antique  sculpture.  We  are  reminded  of  ApoUo  or 
Hermes  as  the  Greeks  loved  to  represent  them.2 
The  beautiful  head  with  its  curling  hair  is  indeed 
that  of  a  god.  In  the  graceful  attitude  also,  the 
sculptor,  Donatello,  has  perfectly  expressed  the  sense 
of  repose  which  was  characteristic  of  Greek  sculp- 
ture. We  note,  however,  that  while  a  Greek  statue 
would  have  been  nude  St.  George  is  clad  in  armor. 
The  expression  of  the  countenance  is,  moreover, 
quite  foreign  to  the  Greek  temper.  Those  knitted 
brows  show  a  strenuousness  of  character  incompati- 
ble with  the  serenity  of  the  gods. 

The  statue  of  St.  George,  like  that  of  St.  Philip, 
was  originally  made  to  fill  one  of  the  niches  on  the 
outside  of  Or  San  Michele.  Below  it  was  a  bas- 
relief  representing  the  slaying  of  the  dragon.  The 
work  was  the  gift  of  the  Guild  of  Sword  Makers  and 
Armorers,  whose  patron  saint  was  the  Knight  of 
Cappadocia.  In  an  exposed  position  on  the  church 
the  precious  marble  was  injured  by  the  weather. 

1  Ephesians,  chapter  vi.,  verses  16  and  12. 

2  See  chapters  VI.  and  XI.  in  the  volume  on  Greek  Sculpture,  ia 
the  Riverside  Art  Series. 


54  TUSCAN  SCULPTURE 

Accordingly  it  was  removed  to  a  museum,  and  a 
bronze  copy  was  set  up  in  its  place. 

The  popularity  of  St.  George  is  by  no  means  con- 
fined to  Italy.  In  England  too  his  memory  is  held 
in  great  respect.  "  For  England  and  St.  George  " 
was  an  old  battle-cry  which  linked  the  name  of  the 
patron  saint  with  that  of  the  native  land.  His  char- 
acter is  our  ideal  of  the  Christian  hero,  chivalrous 
towards  the  weak,  courageous  in  danger,  and  devoted 
above  all  things  to  the  service  of  God. 

Donatello's  statue  embodies  this  ideal,  and  is  his 
highest  imaginative  work.  Being  chiefly  interested 
in  the  study  of  expression,  he  often  seemed  to  care 
very  little  whether  his  subjects  were  beautiful  or  not. 
Here  beauty  and  expressiveness  are  united. 

There  is  an  old  tradition  that  Michelangelo,  pass- 
ing one  day  the  church  of  Or  San  Michele,  paused 
before  the  St.  George  and  exclaimed  "  Cammina !  " 
that  is,  "  Forward,  march  !  "  The  story  is  doubtless 
purely  fictitious,  but  it  shows  how  lifelike  the  statue 
appears.  As  an  old  writer  (Vasari)  put  it,  "  Life 
seems  to  move  within  that  stone." 


X 

BAMBINO 

BY  ANDREA  DELLA  ROBBIA 

THE  visitor  in  Florence  threading  his  way  through 
the  narrow  streets  comes  out  with  delight  into  the 
spacious  squares  scattered  over  the  city.  One  such 
is  the  Piazza,  of  SS.  Annunziata,  in  front  of  the 
church  of  that  name.  Two  sides  of  the  square  are 
ornamented  with  arcaded  buildings  in  the  style  char- 
acteristic of  Italian  architecture.  That  at  the  left 
attracts  us  at  once  by  its  unique  decorations.  In  the 
spandrils,  or  triangular  spaces  between  the  arches, 
are  medallion  bas-reliefs  of  glazed  terra  cotta  showing 
white  figures  relieved  against  a  background  of 
bright  blue.  It  is  one  of  these  which  is  reproduced 
in  our  illustration.  Seen  against  the  sombre  wall 
they  are  like  "  fragments  of  the  milky  sky  itself 
fallen  into  the  cool  street,"  as  a  poetic  critic  has 
described  them.1 

From  each  medallion  a  baby  looks  down  upon  us, 
stretching  out  both  little  arms  as  if  appealing  to  our 
pity.  The  delicate  beauty  of  these  little  ones  is  so 
like  that  of  the  flowers  that  a  traveller  asks, "  Really, 
are  they  lilies,  or  children,  or  the  embodied  strophes 

1  Walter  Pater. 


50  TUSCAN  SCULPTUK! 

of  a  psalter  ?  "  When  we  inquire  what  it  all  means 
we  learn  that  this  arcade  is  the  entrance  to  a  Found- 
ling Hospital.  Passing  through  the  central  door 
we  are  in  a  cortile  or  courtyard,  around  which  are 
more  baby  figures.  The  design  is  a  sort  of  key  to 
the  character  of  the  institution :  the  babies  repre- 
sent the  little  waifs  received  into  its  care.  We  may 
fancy  that  the  orphan  inmates  are  peeping  out  of 
the  medallions  as  from  windows. 

The  Hospital  of  the  Innocents  (Spedale  d<i;li 
Innocenti,  in  Italian)  is  one  of  the  oldest  establish- 
ments of  its  kind.  It  was  founded  in  the  fifteenth 
century,  and  still  carries  on  its  good  work.  Several 
thousand  children  are  annually  supported  by  its  re- 
sources.2 To  multiply  the  figures  by  four  hundred 
and  fifty  makes  a  magnificent  showing  for  the  total 
number  of  beneficiaries  in  four  and  half  centuries. 
It  was  probably  on  the  occasion  of  some  improve- 
ments in  the  original  building  (1463)  that  Andrea 
della  Robbia  furnished  the  famous  medallions  of  the 
bambini,  or  baby  boys. 

Among  so  many  babies  we  yet  find  no  two  alike. 
Each  visitor  chooses  for  himself  some  special  favor- 
ite. The  medallion  of  our  illustration  is  one  of  the 
most  attractive  of  the  number.  Unfortunately  the 
fingers  of  the  right  hand  are  broken  off,  but  other- 
wise the  figure  is  quite  perfect. 

The  child  is  a  healthy-looking  little  fellow,  and  the 

1  Maurice  Hewlett  in  Earthwork  out  of  Tuscany. 
*  Between  7000  and  8000,  according  to  the  Misses  Homer's  Walks 
in  Florence,  published  in  1885. 


Aliuari,  phot. 


John  Andrew  4  Son,  So. 


BAMBINO  (ANDREA  DELLA  ROBBIA) 
Foundling  Hospital,  Florence 


BAMBINO  59 

creases  in  neck  and  wrists  show  how  plump  he  is. 
Yet  there  is  a  pathetic  expression  on  the  face  which 
touches  the  heart.  It  is  as  if  orphanage  had  laid 
its  sorrowful  impress  upon  him.  A  lonely  look  has 
crept  into  the  eyes,  and  the  mouth  droops  in  a  sad 
little  curve.  The  boy  is  certainly  no  common  child. 
His  finely  formed  head  promises  a  superior  character. 
We  are  reminded  of  the  Christ  child,  as  many  of 
the  old  masters  have  represented  him.  The  body 
and  legs  are  completely  encased  in  swaddling  bands, 
from  which  the  head  and  arms  emerge,  like  a  blos- 
som from  its  calyx. 

The  custom  of  swathing  babies  with  bandages  is 
very  ancient.  We  read  in  the  gospel  of  St.  Luke 
how  the  mother  of  Jesus  wrapped  her  son  in  swad- 
dling clothes  as  she  laid  him  in  the  manger.  The 
object  was  to  prevent  every  possible  injury  or  de- 
formity to  the  growing  limbs,  and  keep  them 
straight.  A  child  in  swaddling  clothes  is  naturally 
much  more  easily  carried  by  the  mother,  and  can 
more  safely  be  left  alone.  This  is  doubtless  the  rea- 
son why  the  custom  still  prevails  in  many  countries, 
and  especially  among  the  poorer  people.  There  are 
still  many  nations  which  the  progressive  ideas  of 
physical  culture  have  not  reached. 

The  method  of  swaddling  as  now  practised  in 
Italy  begins  by  folding  the  babe  in  a  large  square 
linen  cloth.  A  second  piece  of  linen  is  rolled  around 
the  body,  which  is  then  ready  for  the  bandage. 
This  bandage  is  about  ten  inches  wide  and  over 
three  yards  long,  and  is  rolled  about  the  entire 


60  TUSCAN  SCULPTURE 

length  of  the  child's  figure,  pinning  the  arms  to  the 
sides.  The  lower  part  of  the  linen  cloth  is  turned 
up  over  the  feet  and  tied  with  the  ends  of  the  band- 
age.1 

Judging  from  our  picture,  the  process  seems  to 
have  been  about  the  same  in  the  fifteenth  century, 
except  that  the  arms  of  our  bambino  are  free.  Cer- 
tainly this  fact  makes  the  figure  much  more  attractive 
as  well  as  more  decorative.  The  cloth  about  the 
child's  body  is  brown  and  the  bandage  white. 

The  sculptor  of  the  bambini,  Andrea  della  Rob- 
bia,  was  the  nephew  of  Luca  della  Robbia,  of  whom 
we  have  learned  something  in  previous  chapters. 
He  was  trained  in  the  workshop  of  his  uncle,  and  in 
turn  passed  on  his  art  to  his  three  sons.  While 
Luca's  work  is  considered  superior  to  that  of  any  of 
his  pupils,  the  nephew  Andrea  had  some  fine  artistic 
qualities.  The  decorations  of  the  Foundling  Hos- 
pital illustrate  both  the  delicacy  and  the  fertility  of 
his  imagination.  Only  a  genuine  artist  could  invent 
so  many  variations  upon  the  simple  theme  of  a  sin- 
gle baby  figure.  The  entire  series  is  like  a  musical 
composition  based  upon  some  simple  but  exquisite 
melody. 

1  Described  in  a  little  book  called  Italian  Child-Life,  by  Marietta 

Amhrosi. 


XI 

THE   ANNUNCIATION 
BY   ANDKEA  DELLA   BOBBIA 

THE  life  of  Mary  the  mother  of  Jesus  was  full  of 
strange  experiences.  She  had  many  sorrows  to  bear, 
but  withal  a  joy  beyond  any  ever  given  to  woman. 
In  the  purity  of  her  character  she  was  set  apart  for 
a  high  and  holy  service. 

The  turning-point  in  her  life  was  on  a  great  day 
when  the  angel  Gabriel  was  sent  by  God  to  visit 
her.  It  was  in  her  quiet  home  in  Nazareth  that  the 
celestial  messenger  "  came  in  unto  her."  "  Hail, 
thou  that  art  highly  favoured,"  he  said,  "  the  Lord 
is  with  thee :  blessed  art  thou  among  women." 
"  And  when  she  saw  him,  she  was  troubled  at  his 
saying,  and  cast  in  her  mind  what  manner  of  saluta- 
tion this  should  be." 

The  angel  spoke  again,  and  his  words  reassured 
her :  "  Fear  not,  Mary  :  for  thou  hast  found  favour 
with  God."  Then  he  told  her  that  she  was  to  be 
the  mother  of  a  wonderful  son.  "  Thou  shalt  call 
his  name  Jesus,"  he  said.  "  He  shall  be  great,  and 
shall  be  called  the  Son  of  the  Highest :  and  the 
Lord  God  shall  give  unto  him  the  throne  of  his 
father  David  :  and  he  shall  reign  over  the  house  of 


62  TUSCAN  SCULPTLl: 

Jacob  for  ever ;  and  of  his  kingdom  there  shall  be 
no  end." 

When  at  last  Mary  understood  the  meaning  of 
the  angel's  message  she  humbly  accepted  her  givut 
destiny.  "  Behold  the  handmaid  of  the  Lord,"  she 
replied ;  "be  it  unto  me  according  to  thy  wonl." 
From  this  day  until  the  birth  of  Jesus  her  thoughts 
were  full  of  her  coming  motherhood.  Once  she 
broke  forth  into  a  song  of  praise :  — 

"  My  soul  doth  magnify  the  Lord, 
And  my  spirit  hath  rejoiced  in  God  my  Saviour, 
For  he  hath  regarded  the  lowliness  of  his  handmaiden, 
For,  behold,  from  henceforth  all  generations  shall  call  me  blessed. 
For  be  that  is  mighty  hath  magnified  me,  and  holy  is  his  name."  2 

The  bas-relief  by  Andrea  della  Robbia  tells  the 
story  of  the  angel's  visit  to  Mary,  the  subject  usually 
called  the  Annunciation.  At  one  side  sits  the  Vir- 
gin with  an  open  book  on  her  lap,  as  if  she  had  been 
reading.  She  has  a  girl's  slender  figure,  and  her 
head  is  modestly  draped  with  a  mantle.  The  angel 
kneels  opposite,  with  folded  hands.  He  has  long 
pointed  wings  covered  with  feathers  as  "a  bird  of 
God,"  in  Dante's  phrase. 

From  above  a  fatherly  face  looks  down  upon  them 
out  of  a  surrounding  circle  of  winged  cherub  lu-aik. 
Beside  the  Virgin  stands  a  jar  of  lilies,  the  flowers 
which  symbolize  the  purity  of  her  maidenhood. 
Over  these  soars  a  white  dove,  the  same  symbol  of 
the  Divine  Spirit  which  descended  upon  Jesus  at  his 
baptism.3 

1  St.  Luke,  chapter  i.,  verset  30-33. 

*  From  the  Magnificat  in  the  Prayer  Book  version. 

8  St.  Matthew,  chapter  iii.,  verse  16. 


Julm  Andr 

THE  ANNUNCIATION  (ANDREA  DELLA  ROBBIA) 
Altar  Piece  at  La  Verna 


THE  ANNUNCIATION  65 

Already  the  angel  has  delivered  his  message,  and 
now  awaits  the  answer.  His  face  is  round  and  in- 
nocent like  a  child's,  and  his  long  hair  is  carefully 
curled.  The  Virgin  has  listened  with  drooping  head, 
and  with  her  hand  pressed  to  her  breast  as  if  to  still 
the  beating  of  her  heart.  She  seems  too  timid  to 
lift  her  eyes  to  meet  her  radiant  guest.  Yet  her 
whole  attitude  expresses  submission  to  the  divine 
wiU. 

The  artist  has  expressed  with  rare  delicacy  of  im- 
agination the  religious  sentiment  of  the  incident. 
The  interpretation  is  in  a  similar  vein  to  that  of  the 
poet  painter  Rossetti  in  the  lines  on  the  Annuncia- 
tion in  the  poem  "  Ave :  "  — 

"  Then  suddenly  the  awe  grew  deep 

As  of  a  day  to  which  all  days 

Were  footsteps  in  God's  secret  ways  ; 

Until  a  folding  sense,  like  prayer, 

Which  is,  as  God  is,  everywhere, 

Gathered  about  thee  ;  and  a  voice 

Spake  to  thee  without  any'  noise, 

Being  of  the  silence  :  — '  Hail,'  it  said, 
'  Thou  that  art  highly  favoured  ; 

The  Lord  is  with  thee,  here  and  now  ; 

Blessed  among  all  women  thou.'  " 

Rossetti,  it  will  be  remembered,  belonged  to  that 
circle  of  English  artists  who  some  fifty  years  ago  at- 
tempted to  revive  the  simple  reverence  of  the  Italian 
art  previous  to  Raphael.  Thus  the  "  Pre-Raphael- 
ite "  poet  and  the  sculptor,  though  separated  by  so 
many  centuries,  had  the  common  aim  of  expressing 
"  the  sense  of  prayer  "  which  gathered  about  the 
Virgin  in  this  moment.  Rossetti  also  treated  the 


M  TUSCAN  SCULPTURE 

Annunciation  in  a  picture  which  has  interesting 
points  of  comparison  with  our  illustration. 

The  relief  is  made  in  the  Delia  Robbia  enamelled 
terra  cotta  ware  The  sculptor  has  here  followed 
his  uncle's  example  in  the  simplicity  of  the  draperies. 
The  modelling  of  the  hands  also  recalls  the  touch 
of  Luca.  In  choice  of  types,  however,  Andrea  shows 
his  individual  taste.  The  fragile  figure  of  the  Vir- 
gin is  as  different  as  possible  from  the  robust  beauty 
of  Luca's  Madonna  which  we  have  studied.  The 
angel  too  is  of  a  softer  and  less  vigorous  character 
than  the  older  artist  would  have  designed. 

The  relief  is  surrounded  by  an  elaborate  frame  of 
the  same  material.  At  the  sides  decorated  pillars 
with  Ionic  capitals  support  an  entablature,  every  sec- 
tion of  which  has  its  own  distinctive  design.  The 
patterns  ornamenting  frieze  and  pillars  seem  to  be 
variations  on  the  lotus  motive,  and  are  very  grace- 
ful. On  the  dado,  or  piece  running  across  the  bot- 
tom of  the  frame,  is  printed  the  Latin  inscription : 
"  Ecce  Ancilla  Domini.  Fiat  Mini  secundum  ver- 
bum  tuum  "  (Behold  the  handmaid  of  the  Lord ;  be 
it  done  unto  me  according  to  thy  word).  It  is  inter- 
esting to  notice  that  at  this  period  the  letters  n  and 
m  were  written  above  the  line  or  united  with  the 
vowels  which  they  followed. 


XII 


THE    ASCENSION 
BY   LUCA  BELLA   ROBBIA 

FOR  forty  days  after  the  resurrection  of  Jesus  the 
disciples  enjoyed  the  companionship  of  their  Master. 
They  were  now  ready  to  understand  many  things 
that  before  had  been  obscure  to  them,  and  Jesus 
spoke  to  them  much  of  the  things  pertaining  to  the 
Kingdom  of  God.1  Sometimes,  as  they  sat  together, 
he  suddenly  appeared  among  them.2  Once  when 
a  few  of  them  had  been  out  fishing  over  night  they 
found  him  standing  on  the  shore  in  the  morning.3 

Still  later  he  appointed  a  meeting  on  a  mountain 
in  Galilee  at  which  over  five  hundred  of  the  faith- 
ful were  gathered.  It  was  then  that  he  commanded 
them  to  go  forth  to  teach  all  nations,  and  he  gave 
them  the  promise,  "  Lo,  I  am  with  you  alway,  even 
unto  the  end  of  the  world."  4 

Finally  he  led  the  chosen  band  to  the  Mount  of 
Olives  at  Bethany,  "  and  he  lifted  up  his  hands 
and  blessed  them.  And  it  came  to  pass  while  he 
blessed  them,  he  was  parted  from  them,  and  carried 
up  into  heaven."  "  And  a  cloud  received  him  out  of 

1  Acts,  chapter  i.,  verse  3. 

2  St.  Mark,  chapter  xvi.,  vense  14  ;  St.  John,  chapter  xx.,  verse  26. 
8  St.  John,  chapter  xxi.,  verse  4. 

4  St.  Matthew,  chapter  xxviii.,  verses  19,  20. 


68  TUSCAN   SCULPTURE 

their  sight.  And  while  they  looked  stedfastly  toward 
heaven  as  he  went  up,  behold,  two  men  stood  by 
them  in  white  apparel ;  which  also  said,  Ye  men 
of  Galilee,  why  stand  ye  gazing  up  into  heaven? 
this  same  Jesus,  which  is  taken  up  from  you  into 
heaven,  shall  so  come  in  like  manner  as  ye  have  seen 
him  go  into  heaven." 

In  Luca  della  Robbia's  bas-relief  of  the  Ascen- 
sion the  moment  has  come  when,  in  the  very  act  of 
blessing  his  disciples,  Jesus  is  parted  from  them. 
He  had  already,  in  some  measure,  prepared  them 
for  this  event.  On  the  day  of  his  resurrection  lie 
told  them  that  he  was  about  to  ascend  to  his  father.2 
To-day  his  words  and  manner  may  have  shown  them 
that  the  time  was  at  hand.  Certainly  there  are  no 
startled  or  grief-stricken  faces  among  them  ;  no  ges- 
tures of  surprise.  It  is  as  if  in  response  to  some 
sign  from  the  master,  they  had  all  knelt  to  receive 
his  benediction,  and  while  they  were  still  on  their 
knees,  he  rose  from  their  midst.  Already  his  feet 
have  left  the  solid  earth,  as  he  vanishes  out  of  their 
sight. 

The  company  form  a  circle  just  as  they  hud 
clustered  about  him.  So  orderly  is  their  arrange- 
ment, so  quietly  is  the  great  act  accomplished,  thut 
they  seem  to  be  taking  purt  in  some  religious  ser- 
vice. All  eyes  are  fixed  upon  the  Suviour,  with  love, 
joy,  and  adoration  expressed  in  every  countenance. 

1  St.  Luke,  chapter  xxir.,  verses  50,  51 ;  Acts,  chapter  i.,  verses 
9-11. 

*  St  John,  chapter  xx.,  verse  17. 


THE  ASCENSION  71 

The  treachery  of  Judas  had  reduced  the  number 
of  disciples  to  eleven,  and  the  vacant  place  was  not 
filled  until  later.  We  see,  however,  twelve  figures 
in  this  circle,  and  notice  that  one  is  a  woman.  This 
is  Mary,  the  mother  of  Jesus,  who  had  lived  with 
John  since  the  day  of  the  Crucifixion.  It  was  the 
express  wish  of  Jesus  that  the  beloved  disciple 
should  regard  her  as  a  mother.  Thus  it  is  not 
unnatural  to  suppose  that  the  two  would  come 
together  to  Bethany  at  this  time,  and  kneel  side  by 
side,  as  we  see  them  here.  Mary  looks  as  young 
as  when  she  held  her  babe  in  her  arms,  and  she  has 
the  same  happy  expression.  It  is  not  possible  to 
make  out  who  the  others  are.  We  fancy  that  the 
two  beardless  young  men  at  the  right  are  Thomas 
and  Philip,  because  they  are  thought  to  have  been 
younger  than  the  other  disciples. 

The  figure  of  the  Saviour  is  noble  and  dignified, 
the  attitude  full  of  buoyancy.  The  face  is  such 
as  from  long  association  we  have  come  to  identify 
with  the  person  of  Christ,  benignant  and  refined. 
He  looks  not  up  into  the  glory  towards  which  he  is 
ascending,  but  his  glance  still  lingers  upon  the  dis- 
ciples with  an  expression  of  tender  solicitude.  An 
oval  frame  of  radiating  lines  surrounds  his  entire 
figure.  It  is  the  mandorla,  or  almond-shaped  nim- 
bus, which  was  the  old  artistic  symbol  of  divine 
glory. 

We  have  already  noticed  some  of  the  character- 
istics of  Luca  della  Robbia's  art,  which  are  again 
illustrated  in  this  work.  The  draperies  are  arranged 


Ti  TUSCAN  SCULPTUK! 

with  a  simplicity  of  line  which  is  almost  severe. 
The  folds  are  scanty,  clinging  to  the  figure  and 
following  the  fine  outlines  of  the  pose.  The  figures 
are  white,  set  off  against  the  blue  of  the  sky,  and 
green,  brown,  and  yellow  are  introduced  in  the  land- 
scape surroundings. 

The  bas-relief  is  one  of  two  lunettes  placed  over 
opposite  doors  in  the  cathedral  of  Florence.  The 
companion  subject  is  the  Resurrection,  and  in  both 
pieces  the  sculptor  went  beyond  his  usual  limit  in 
the  number  of  figures  making  up  the  composition. 
The  leading  quality  of  his  work  is  decorative,  and 
he  seldom  applied  his  art  to  the  illustration  of  story. 
We  are  the  more  interested  in  his  remarkable  suc- 
cess in  these  instances. 

A  painter  would  naturally  have  brought  out  the 
more  dramatic  features  of  the  Ascension,  showing 
the  excitement  and  confusion  of  the  moment.  Luca 
knew  well  that  sculpture  was  unsuited  for  violent 
action,  and  he  sought  rather  to  convey  a  sense  of 
repose  in  his  work.  Moreover  he  infused  a  devo- 
tional spirit  into  the  scene  which  he  seldom  attained. 
Marcel-Reymond  says  that  only  in  Fra  Angelico's 
work  can  one  find  figures  expressing  such  an  ecstasy 
of  love  and  devotion. 


XIII 

TOMB    OF   THE  CARDINAL   OF   PORTUGAL 

BY   ANTONIO   EOSSELLINO 

IN  the  church  of  San  Miniato,  on  a  hill  overlook- 
ing Florence,  is  a  memorial  chapel  built  in  honor  of 
a  Portuguese  cardinal  who  is  buried  here.  Archi- 
tecture, painting,  and  sculpture  are  here  united  to 
make  a  perfect  artistic  whole.  The  room  was  de- 
signed by  the  architect  Antonio  Manetti ;  the  altar 
and  walls  are  adorned  with  paintings  by  Pollaiuolo 
and  Baldovinetti,  the  roof  is  decorated  with  medal- 
lions of  Delia  Robbia  ware,  and  at  one  side  is  the 
cardinal's  tomb. 

This  prelate,  Jacopo  di  Portogallo,  died  in  Flor- 
ence while  visiting  the  city  on  a  diplomatic  mission. 
He  was  a  young  man  under  thirty  years  of  age,  a 
cousin  of  the  reigning  king  of  Portugal,  and  was 
besides  the  cardinal  archbishop  of  Lisbon.  Natu- 
rally he  was  received  as  a  guest  of  unusual  distinc- 
tion, and  his  amiable  qualities  won  him  warm  friends 
among  the  Florentines.  Though  dying  in  a  foreign 
land,  he  was  buried  with  such  honors  as  his  own 
countrymen  could  hardly  have  surpassed.  This  was 
in  1459,  at  a  time  when  Antonio  Rossellino  was  a 
prominent  sculptor  of  Tuscany.  He  was  the  artist 


74  I  U SCAN  SCTL1TUKE 

chosen  by  the  Bishop  of  Florence  to  construct  the 
Portuguese  cardinal's  tomb. 

On  a  richly  carved  base  stands  the  sarcophagus 
or  marble  coffin  in  an  arched  niche.  Just  over  this, 
on  a  bier,  lies  the  portrait  figure  of  the  cardinal  in 
his  ecclesiastical  robes.  All  this  is  surrounded  l»y 
a  square  framework,  not  unlike  a  mantelpiece  in 
style,  on  the  two  upper  corners  of  which  are  kneel- 
ing angels.  The  wall  space  above  is  ornamented  by 
angels  holding  over  a  simulated  window  a  medallion 
containing  a  Madonna  and  child. 

Our  illustration  shows  this  portion  of  the  wall, 
and  includes  a  part  of  the  angel  figures  kneeling  ;it 
the  upper  corners  of  the  tomb.  The  angel  on  the 
left  side  holds  the  crown,  which  is  the  reward  <»f  a 
faithful  life.  It  is  the  "  crown  of  righteousness," 
the  "crown  of  life,"  or  the  "crown  of  glory  which 
fadeth  not  away."  His  companion  must  once  have 
carried  a  palm  branch,  according  to  an  old  descrip- 
tion,  but  this  has  disappeared.  The  angels  hearing 
the  medallion  fly  forward  as  if  swimming  through 
the  air,  alternately  bending  the  knee  and  thrusting 
out  the  leg.  Their  draperies  flutter  about  them  in 
the  swiftness  of  their  motion.  Such  vigorous  action 
is  an  unusual  motive  in  decorative;  art,  and  perhaps 
not  altogether  appropriate.  All  four  of  the  angels 
have  delicate  features  and  sweet  expressions. 

The  medallion  is,  artistically  considered,  the  loveli- 

1  2  Timothy,  chapter  iv.,  verse  8  ;  St.  .lames,  chapter  i.,  verse 
12  ;  1  Peter,  chapter  v.,  verse  4.  The  symbolism  of  the  crown  is  ex- 
plained in  Mrs.  Jameson's  Sacred  and  Legendary  Art,  page  28. 


TOMB  OF  THE  CAEDINAL  OF  PORTUGAL         77 

est  portion  of  the  whole  work.  The  face  of  the  Ma- 
donna is  of  that  perfect  oval  which  artists  choose 
for  their  ideal  of  beauty.  We  admire  too  the  deli- 
cately cut  features,  the  waving  hair,  and  the  shapely 
hands.  Both  she  and  the  child  look  down  from  their 
high  frame,  smiling  upon  those  who  may  stand  on 
the  pavement  below.  The  child  raises  his  hand  in 
a  gesture  of  benediction,  the  three  fingers  extended 
as  a  sign  of  the  trinity. 

It  is  not  an  easy  problem  to  fit  the  compositional 
lines  of  a  group  into  a  circular  frame.  RosseUino 
solved  it  very  prettily  by  outlining  the  figures  in  a 
diamond-shaped  diagram.  You  may  easily  trace  the 
four  sides,  drawing  one  line  from  the  Madonna's 
head  along  her  right  shoulder,  another  from  her 
elbow  to  the  finger  tip,  a  third  from  the  child's 
toes  to  his  left  elbow,  a  fourth  from  his  elbow  to  the 
top  of  the  mother's  veil. 

It  will  be  noticed  that  in  the  whole  decorative 
scheme  of  the  monument  there  is  nothing  to  sug- 
gest the  idea  of  mourning.  There  is  here  no  sense 
of  gloom  in  the  presence  of  death.  The  rejoicing  of 
the  angels,  the  smile  of  the  mother  and  child,  and 
the  peaceful  sleep  of  the  cardinal,  all  express  the 
Christian  hope  of  immortality  beyond  the  grave. 

The  sentiment  is  particularly  appropriate  to  the 
character  of  the  man  whose  memory  is  honored  here. 
The  Florentine  writer  Vespasiano  Bisticci  described 
him  as  being  "  of  a  most  amiable  nature,  a  pattern 
of  humanity,  and  an  abundant  fountain  of  good, 
through  God,  to  the  poor.  ...  He  lived  in  the 


78  TUSCAN  SCULPTURE 

flesh  as  if  he  were  free  from  it,  rather  the  life  of  an 
angel  than  a  man,  and  his  death  was  holy  as  his 
life."1 

Allowing  something  for  the  extravagance  of 
speech  which  was  the  fashion  of  that  time,  we  may 
still  believe  that  the  Cardinal  of  Portugal  was  a  man 
whose  character  was  singularly  pure  in  an  age  when 
good  men  were  none  too  common.  Of  the  sculptor 
Rossellino  also  fan:  words  are  spoken.  Vasari  de- 
clared that  he  "  was  venerated  almost  as  a  saint  for 
the  admirable  virtues  which  he  added  to  his  know- 
ledge of  art." 

The  custom  of  erecting  elaborate  marble  tombs 
was  an  interesting  feature  of  the  Renaissance  art 
in  Italy.  Such  monuments  formed  an  important 
part  of  the  interior  decoration  of  churches.  Church 
dignitaries  took  great  pride  in  the  thought  that 
their  names  would  be  immortalized  in  these  works  of 
art.  Some  had  their  tombs  made  while  still  living, 
that  they  might  make  sure  of  a  satisfactory  design.2 
Others  gave  directions  on  the  subject  with  their 
dying  breath,  as  in  Browning's  poem,  "  The  Bishop 
Orders  his  Tomb  at  St.  Praxed's."  Of  the  many  fine 
tombs  in  the  churches  of  Tuscany,  this  monument 
of  the  Cardinal  of  Portugal  is  counted  one  of  the 
three  best.3 

1  In  Vite  di  Uamini  lUiutri  del  Secolo  XV. 

*  As  Hishop  Salutati,  whose  tomb  is  mentioned  in  Chapter  IV. 

•  By  C.  C.  Perkins  in  Tuscan  Sculptort. 


XIV 

EQUESTRIAN   STATUE    OF   GATTAMELATA 


BY  DONATELLO 


IN  the  fifteenth  century  Italy  was  divided  into 
numerous  independent  states,  among  which  there  was 
more  or  less  rivalry.  The  two  great  powers  of  the 
north  were  Venice  and  Milan,  both  striving  for  the 
possession  of  Lombardy.  To  the  Venetian  repub- 
lic already  belonged  an  extensive  territory  on  the 
mainland,  and  she  was.  determined  on  conquest  at 
any  cost.  To  this  end  condottieri  were  employed  to 
carry  on  the  several  campaigns. 

These  condottieri  were  military  leaders  who  made 
war  a  business.  It  mattered  nothing  to  them  on 
what  side  they  fought  or  against  what  enemy,  so 
long  as  they  were  well  paid  for  their  services.  As 
a  rule  they  were  men  of  unscrupulous  character, 
many  of  whom  betrayed  the  cause  entrusted  to 
them.  To  this  rule  a  notable  exception  was  Gatta- 
melata,1  the  subject  of  the  equestrian  statue  in  our 
illustration. 

The  man's  real  name  was  Erasmo  da  Narni.  It 
was  as  first  lieutenant  in  the  Venetian  army  that  he 
came  into  notice,  serving  under  Gonzaga.  When 

1  The  literal  meaning  of  this  sobriquet  is  Honeyed  cat. 


80  It  SCAN  SCULPTUK! 

later  this  Gonzaga  went  over  to  the  cause  of  the 
Milanese  enemy,  the  lieutenant  was  promoted  to  the 
command.  He  threw  into  the  work  before  him, 
says  the  historian,  "an  honest  heart  and  splendid 
faculties." 

The  Milanese  army  was  much  larger  than  the 
Venetian,  and  was  commanded  by  the  famous  strat- 
egist Niccolo  Piccinino.  Gattamelata  could  make 
little  headway  against  such  odds,  but  all  that  was 
possible  to  do  he  accomplished  "  with  equal  courage, 
fidelity,  and  zeal."  At  length,  in  attempting  to 
bring  relief  to  the  besieged  city  of  Brescia,  he 
found  himself  shut  in  between  the  Lake  of  Garda 
and  the  Alps. 

It  was  in  the  month  of  September,  1438.  Snow 
already  lay  on  the  mountains,  and  the  rivers  were 
swollen  with  the  autumn  rains.  The  roads  were 
out  of  repair,  bridges  were  washed  away,  and  even 
the  fords  were  impassable.  To  make  matters  worse, 
the  army  was  short  of  provisions.  Such  conditions 
would  have  forced  any  other  general  to  lay  down 
his  arms,  but  not  Gattamelata.  With  admiral  »le 
coolness,  he  led  his  men  in  a  retreat  across  the 
mountains  and  around  the  lake.  Three  thousand 
horsemen  and  two  thousand  infantry  made  up  their 
number,  and  all  were  devoted  to  their  leader.  Tor- 
rents were  bridged,  old  roads  repaired,  new  ones 
opened,  and  at  the  end  of  a  month  the  army 
emerged  upon  the  Lombard  plain. 

Thus  were  the  Venetian  arms  saved,  and  at  the 
same  time  the  Milanese  were  baffled  in  a  design  to 


Alinuri,  jjljutu.  John  Andrew  i  Sun,  Sc. 

EQUESTRIAN  STATUE  OF  GATTAMELATA  (DONATELLO) 
Piazza  del  Santo,  Padua 


EQUESTRIAN  STATUE  OF  GATTAMELATA         83 

come  between  Venice  and  her  army.  Gattamelata's 
retreat  was  a  victory  of  peace,  less  showy,  perhaps, 
than  a  victory  of  war,  but  requiring  the  finest  quali- 
ties of  generalship.  In  recognition  of  his  services 
the  Venetian  Signory  conferred  the  title  of  nobility 
upon  him,  with  a  palace  and  a  pension. 

In  the  following  year,  the  Venetian  cause  was 
strengthened  by  alliance  with  Florence,  and  Gatta- 
melata  yielded  the  first  place  in  command  to  Sforza, 
the  general  of 'the  Florentine  forces.  In  1440  the 
united  armies  succeeded  in  relieving  Brescia,  but  in 
the  same  year  a  calamity  befell  Gattamelata.  Ex- 
posure to  cold  brought  on  paralysis,  and  after  a 
lingering  illness  of  two  years  he  died.  The  honor 
of  a  great  funeral  was  accorded  him  at  the  public 
expense,  and  he  was  buried  in  the  church  of  S. 
Antonio  at  Padua.  The  next  year  the  sculptor, 
Donatello,  was  commissioned  to  make  an  equestrian 
statue  of  the  great  condottiere  to  be  set  up  in  the 
square  in  front  of  the  church.1 

With  quiet  dignity  Gattamelata  rides  forward  on 
his  horse  as  if  reviewing  his  army.  There  is  nothing 
pompous  in  his  attitude  or  manner.  He  seems  a 
plain  man  intent  upon  his  task,  with  no  thought  of 
display.  He  has  the  strong  face  of  one  born  for 
leadership,  and  we  can  believe  the  stories  of  his 
troops'  devotion  to  him.  With  his  right  hand  he 

1  W.  C.  Hazlitt's  Venetian  Republic  furnishes  the  quotations  and 
information  for  this  account  of  Gattamelata.  Other  sources  of 
material  on  the  subject  are  Fabretti,  Biog.  dei  Capitani  dell'  Umbria, 
Hoefer's  Biog.  universelle,  and  Michaud's  Biog.  generals.  Symonds 
gives  a  general  account  of  the  coudottieri  in  the  Age  of  Despots. 


84  It  SCAN  SCULPTURE 

lifts  his  wand  in  a  gesture  of  command,  letting  it 
rest  across  the  horse's  neck. 

He  is  dressed  in  the  picturesque  war  costume  of 
the  period,  and  wears  metal  plates  upon  his  arms. 
A  long  sword  swings  at  his  side,  and  spurs  are 
attached  to  his  heels.  Yet  apparently  he  is  not 
actually  equipped  for  the  battle,  for  his  head  is 
uncovered.  He  has  a  high  receding  forehead  and 
thick  curls.  The  peculiar  shape  of  the  head,  look- 
ing almost  conical  from  some  points  of  view,  indi- 
cates a  forcible  character.  It  is  evident  that  this 
is  a  man  of  action  rather  than  of  words.  His 
appearance  fits  admirably  the  facts  of  his  life  as 
one  whose  energy  and  courage  could  overcome  any 
obstacle.  Gattamelata  was  not  a  patriot,  as  we 
understand  patriotism,  being  but  a  mercenary  cap- 
tain. But  he  showed  a  rare  loyalty  to  the  cause  he 
espoused.  It  is  not  as  a  fighting  man  that  we 
admire  him  to-day,  but  as  a  man  of  remarkable 
resources. 

Obedient  to  the  master's  hand,  the  horse  ambles 
at  a  moderate  pace.  Except  the  bridle,  he  has  no 
trappings,  and  we  thus  see  to  the  best  advantage  the 
fine  proportions  of  his  figure.  Before  undertaking 
this  work  Donatello  had  had  no  experience  in  model- 
ling  the  horse,  and  his  success  is  the  more  remark- 
able. It  is,  however,  the  man  rather  than  the  horse 
which  shows  the  full  power  of  the  sculptor's  art. 
The  subject  was  one  exactly  suited  to  his  taste, 
which  preferred  vigorous  masculine  qualities  to  all 
others. 


EQUESTRIAN  STATUE  OF  GATTAMELATA          85 

In  ancient  sculpture  equestrian  subjects  were  very 
important.  On  the  Parthenon  at  Athens  a  frieze 
of  bas-relief  contained  rows  of  horsemen  riding  in 
the  Panathenaic  procession.1  In  a  public  square  in 
Rome  was  a  famous  statue  of  the  Emperor  Marcus 
Aurelius  on  horseback.  Donatello  was  the  first 
sculptor  of  the  Christian  era  to  revive  this  noble 
form  of  art.  The  statue  of  Gattamelata  is  there- 
fore the  parent  of  the  long  line  of  modern  eques- 
trian statues. 

1  See  Chapter  III.  of  the  volume  on  Greek  Sculpture,  in  the  River- 
side Art  Series. 


XV 

SHRINE 
BT    MLXO   DA   FIE8OLE 

WE  have  seen  from  the  examples  in  our  collec- 
tion that  the  art  of  sculpture  may  be  applied  in 
many  forms  to  the  decoration  of  churches,  without 
and  within.  Statues  like  those  in  the  niches  on  the 
church  of  Or  San  Michele,  sculptured  altars  like 
that  by  Donatello  in  the  church  at  Padua,  nr^aii 
galleries  like  that  by  Luca  della  Robbia  in  the 
Florence  cathedral,  monumental  tombs  like  those  of 
Iluria  del  Carretto  and  the  Cardinal  of  Portugal, 
medallions  and  lunettes  on  walls  and  ceilings,  are 
among  the  treasures  enriching  the  churches  of 
Italy. 

Sculpture  may  also  be  used  to  ornament  almost 
every  article  of  church  furnishing:  pulpits,  fonts, 
and  basins  for  holy  water,  wardrobes  and  cabinets, 
chests  and  chairs,  as  well  as  a  multitude  of  those 
smaller  objects  wrought  in  metal  \\hich  belong  to 
the  goldsmith's  art.  Upon  all  such  things  as  tin •-.«• 
the  Italian  artists  of  the  fifteenth  century  spent 
much  careful  and  loving  labor. 

Our  illustration  shows  a  kind  of  church  furniture 
common  in  this  period.  It  is  a  sculptured  cabinet 


John  Andrew  \  Son,  So 


SHRINE  (MING  DA  FIESOLE) 
Church  of  Santa  Croce,  Florence 


SHRINE  89 

to  contain  articles  used  in  the  altar  services,  such  as 
the  sacramental  wafers  or  the  holy  oil.  A  recep- 
tacle for  objects  so  sacred  is  called  a  shrine.  The 
architectural  framework  is  in  the  form  styled  a 
tabernacle,  such  as  we  have  seen  in  the  niches  on 
the  outside  of  Or  San  Michele.1 

The  artist  was  Mino  da  Fiesole,  whose  decorative 
works  were  very  popular,  both  for  the  delicacy  of- 
their  finish  and  the  quality  of  sentiment  they  ex- 
pressed. His  idea  here  was  to  make  the  design 
suggest  a  sacred  story,  the  story  of  Christ's  resur- 
rection. The  opening  into  the  cabinet  is  the  en- 
trance of  the  tomb,  and  without,  the  angels  await 
the  coming  of  the  risen  Lord. 

Our  thoughts  turn  to  the  Sunday  morning  in  the 
garden  of  Joseph  of  Arimathea,  when  the  faithful 
women  came  to  the  rock-hewn  tomb.  The  stone 
had  been  rolled  away,  and  angels  greeted  them  with 
the  glad  tidings,  "  He  is  risen."  2  The  angels  of 
our  picture  press  forward  eagerly  to  peer  into  the 
shadowy  depths  of  the  interior.  There  are  two  who 
are  close  to  the  door,  while  two  more,  with  long 
torches,  stand  on  the  step  below.  Above  the  door 
hovers  a  dove,  the  emblem  of  the  Holy  Spirit. 

Various  features  of  the  tabernacle  illustrate  char- 
acteristic qualities  of  the  Italian  art  of  this  period. 
The  arched  top  is  to  be  noticed  as  much  more  com- 
mon in  Italy  than  the  Gothic  or  pointed  roof.  The 
winged  cherub  heads  were  a  favorite  decorative 
design.  We  have  seen  one  example  of  their  use  in 

1  Chapter  II.  2  St.  Mark,  chapter  xvi.,  verses  4-6. 


90  TUSCAN  SCULPTURE 

tin-  frame  of  the  medallion  on  the  Portuguese  car- 
dinars  tomb.  The  decorated  side  pillars  with  Ionic 
capitals  we  have  seen  in  the  altarpiece  of  the  Annun- 
ciation by  Andrea  della  Robbia. 

The  shrine  of  our  illustration  was  originally  made 
for  the  nuns  of  the  convent  of  the  Murate.  It  is 
mentioned  by  Vasari  as  a  work  which  the  artist 
"  conducted  to  perfection  with  all  the  diligence  of 
which  he  was  capable."  That  its  first  purpose  was 
to  hold  the  sacramental  wafers  we  may  be  sure 
from  the  Latin  inscription,  "  This  is  the  living 
bread  which  came  down  from  heaven."  The  words 
are  those  used  by  our  Lord  himself  in  one  of  the 
discourses  recorded  by  St.  John.1 

In  1815  the  shrine  was  removed  to  its  present 
place  in  the  church  of  S.  Croce,  Florence,  where  it 
is  in  the  chapel  of  the  Medici,  also  called  the  chapel 
of  the  Novitiate. 

1  St.  John,  chapter  vi.,  verse  51. 


XVI 

IL  MARZOCCO  (THE  HERALDIC  LION  OF  FLORENCE) 


BY   DONATELLO 


IN  the  history  of  the  several  cities  of  Italy  every 
town  has  chosen  some  design  to  be  inscribed  upon 
a  shield  as  a  coat  of  arms.  Florence  has  the  lily, 
as  a  reminder  of  the  far-away  days  when  the  valley 
of  the  Arno  was  filled  with  the  red  blossoms  of  the 
amaryllis.  It  was  for  this  that  the  name  Firenze 
was  given  to  the  city,  the  "  City  of  Flowers."  The 
lily  is  drawn  in  three  petals  somewhat  like  those  of 
the  fleur-de-lis  of  France ;  but  the  Florentine  flower 
is  broader  than  its  French  counterpart,  and  has  be- 
sides two  slender  flower-stalks  separating  the  larger 
petals.  When  represented  in  color  it  is  always  red. 

The  tutelary  genius  of  Florence  is  the  lion.  He 
stands  for  the  noble  and  heroic  qualities  in  the 
Florentine  citizen.  Courage  and  patriotism  have 
many  a  time  been  magnificently  illustrated  in  the 
history  of  the  city's  struggles  against  tyranny. 
Like  the  king  of  beasts,  the  loyal  Florentine  prefers 
death  to  the  loss  of  liberty. 

The  choice  of  the  lion  as  a  civic  emblem  explains 
the  fact  that  a  preserve  of  lions  was  once  kept  in 
Florence  at  the  public  expense-  This  was  given  up 


n  MAN  MI  i. i-Ti  I:E 

centuries  ago,  but  the  Via  de'  Leoni,  or  street  of 
tin-  limis.  remains  to  remind  us  of  the  old  custom. 
There  was  still  another  way  in  which  Florence 
kept  the  emblem  continually  before  the  minds  of 
her  people.  This  was  in  the  stone  lion  called  the 
Murzocco,  set  up  in  the  piazza,  or  square,  of  the 
Signoria. 

For  many  years  the  civic  life  of  Florence  centred 
in  the  Piazza  della  Signoria,  where  stands  the  old 
gray  stone  palace  called  the  Palazzo  Vecchio.  Of 
some  of  the  important  events  which  took  place  here 
in  the  fifteenth  century  we  may  read  in  George 
Eliot's  "  Romola."  It  was  here  the  Florentines 
gathered  on  all  occasions  of  public  interest,  whether 
connected  with  the  political  or  the  religious  affairs 
of  their  city. 

In  front  of  the  Palazzo  Vecchio  is  a  stone  plat- 
form called  the  ringhiera,  and  it  was  on  this  that 
the  Marzocco  was  set  up  as  a  stimulus  to  patriotism. 
The  lion  sits  on  his  haunches  in  an  attitude  of 
grave  dignity.  In  this  position  he  is  much  more 
alert  than  a  crouching  lion,  and  less  aggressive  than 
the  rampant  lion.  His  duty  is  to  guard  the  honor 
of  the  city,  and  his  pose  is  much  like  that  of  the 
watchdog.  With  his  right  paw  he  supports  a  shield 
on  which  the  Florentine  lily  is  engraved.  We  are 
reminded  of  our  own  national  eagle  holding  the 
shield  of  the  stars  and  stripes. 

In  such  a  figure  we  do  not  look  for  a  close  resem- 
blance to  nature.  The  subjects  of  heraldic  art  are 
treated  in  a  decorative  way  with  a  certain  stiffness 


THE  HERALDIC   LION  OF  FLORENCE  93 

of  form.  The  device  of  the  lily  is  not  an  actual 
picture  of  the  flower,  but  a  kind  of  floral  diagram, 
or  what  we  call  a  conventionalized  form.  So,  too, 
the  lion  is  of  a  formal  or  emblematic  type.  Yet 
there  is  a  certain  expressiveness  in  the  face  of  the 
old  fellow  which  makes  us  like  him.  Like  the 
winged  lion  of  St.  Mark's  in  Venice,  he  has  made 
many  friends. 

II  Marzocco  is  carved  out  of  soft  gray  stone  which 
the  Italians  call  pietra  serena.  It  is  believed  to 
have  been  made  by  Donatello,  and  it  stands  on  a 
beautiful  carved  pedestal.  Like  the  same  sculptor's 
statue  of  St.  George  it  was  deemed  too  precious  to 
leave  exposed  in  the  open  air,  and  was  therefore 
removed  to  a  museum.  A  bronze  copy  now  stands 
in  its  place  on  the  platform  of  the  old  palace. 


PRONOUNCING  VOCABULARY  OF  PROPER  NAMES 
AND  FOREIGN  WORDS 


The  Diacritical  Marks  given  are  those  found  in  the  latest  edition  of  Webster's  Inter- 
national Dictionary. 

EXPLANATION   OF  DIACRITICAL  MARKS. 

A  Dash  (~)  above  the  vowel  denotes  the  long  sound,  as  in  fate,  eve,  time,  note,  use. 

A  Dasli  and  a  Dot  (""")  above  the  vowel  denote  the  same  sound,  less  prolonged. 

A  Curve  (")  above  the  vowel  denotes  the  short  sound,  as  in  acid,  2nd,  ill,  Sdd,  up. 

A  Dot  ( ' )  above  the  vowel  a  denotes  the  obscure  sound  of  a  in  past,  abate,  Amgrica. 

A  Double  Dot  (")  above  the  vowel  a  denotes  the  broad  sound  of  a  in  father,  alms. 

A  Double  Dot  („)  below  the  vowel  a  denotes  the  sound  of  a  in  ball. 

A  Wave  (~)  above  the  vowel  e  denotes  the  sound  of  e  in  her. 

A  Circumflex  Accent  (~)  above  the  vowel  o  denotes  the  sound  of  o  in  b6rn. 

A  dot  ( . )  below  the  vowel  u  denotes  the  sound  of  u  in  the  French  language. 

N  indicates  that  the  preceding  vowel  has  the  French  nasal  tone. 

o  and  K  denote  the  guttural  sound  of  ch  in  the  German  language. 

tli  denotes  the  sound  of  tli  in  the,  this. 

c  sounds  like  s. 

e  sounds  like  k. 

.3  sounds  like  z. 

g  is  hard  as  in  get. 

g  is  soft  as  in  gem. 


Alger  (al'jgr). 

Ambrosi,  Marietta  (ma-re-et'ta  am- 

bro'ze). 

Andrea  (an-dra'a). 
Angelico,  Fra  (fra  an-jel'e-ko). 
Annunziata  (an-nobn-tse-a'ta). 
Antonio  (an-to'ne-o). 
Apollo  (a-pol'lo). 
Arezzo  (a-ret'so). 
Arimathea  (ar-i-ma-the'a). 
Aristotle  (ar'is-totl). 
Arras  (ar-ras'). 

Baldovinetti  (bal-do-ve-net'te). 
Bambino  (bam-be'no). 
Bartolommeo  (bar-to-lom-ma'o). 
Beth' any. 
BSth'lehem. 
Bethsaida  (beth-sa'i-da). 


Bisticci,   Vespasiano  (v5s-pa-ze-a'no 

bes-tet'che). 
Bologna  (bo-lon'ya). 
Borghini,  Vicenzo  (ve-chend'so  bor- 

ge'ne). 

Botticelli  (bot-te-chel'le). 
Brescia  (bra'she-a). 
Brunelleschi  (brob-nel-les'ke). 

Buonarroti  (bob-o-nar-ro'te). 

t 

Cammina  (kam'me-na). 
cantor ia  (kan-to-re'a). 
Cappadocia  (kap-a-do'shi-a). 
Carderara  (kar-da-ra'ra). 
Carrara  (kar-ra'ra). 
Carretto  (kar-ret'to). 
Cavalucci  (ka-va-16bt'che). 
Cleodolinda  (kle-od-o-lin'da). 
Colvin,  Sidney  (sid'ni  kol'vin). 


TUSCAN  SCULPTURE 


Correggio  (kor-r8d'jo). 
CortiU  (kor-t«'la). 
Croce  (kro'cha). 

Delia  Robbia  (del'la  rub'be-a). 
I>idroii  ule-droJt  ). 
Diocletian  (dl-G-kle  aha-an). 
Doiiiiii  i.   in. 
I'.'.n,  infck. 
I  >on;iteTlo. 
Dona'  to. 

Eooe  aiicilla  Domini  fiat  mihi  secun- 
dum  verbum  tuum  (Sk'kS  aukel'lii 
do'me-ne  fe'at  m6'h6  sakoon  ilmim 
war'b<K>ni  too'oom). 

Ecco  il  Giovannino  (ek'koel  jo-van- 
ne'no). 

Ego  sum  Lux  Mundi  (6g'u  soorn  louz 


Elias  (e-ll'as). 
Eliaabetb  (e-liz  a-b6tb). 
Eloi  (5-lwa'). 
tpitcoptu  (i-pe'sko-poos). 
Eraamo  da  Narni  (a-rite'mo  da  nar'- 
n5). 

Pabretti  (ta-brSt't*). 
Pirenze  (fe-rSnd'sA). 
Florentine  (flor'Sn-ten). 
Franciscan  (frSn-sfa'kin). 
Frati  Minori  (fra'te  me-no're). 
Frati  Predicatori  (fra'te  pra-de-ka- 
to're). 

Galilee  (g&ll  -I.'  . 

Oarda  (R&r'da). 

GattamelaU  (Kat-ta-ma-la'ti). 

genre  (zbiis 

(}onxa»m  1>fr,nd-*i  >a). 


Guinigi,  Paolo  (pa'o-lD 


HJU'litt. 

Ifer'tnia, 

Her'od. 

Hewlett,  Maurice  (m»'rU  hu  let). 

I  li.Topolin  ihl-«-rup'v-lb). 

Hoefer  (b»'f«r). 


fe  ii  S»-pJin-y"»  !«'• 
Iconography  (I-ko-n&g'ra-flj. 
Ilaria(e-la  t. 

Jaoopo  della  Quercia  (ya  'ko-po  del'la 
kwer'cha). 

.lor  dan. 

Jourdain  (xhobr-dftN'). 

Judasa  i  ju-de'a). 

Leg'  born. 


Lisbon  (liz'b&n). 

Loggia  (lod'ja). 

Lom'bArdy. 

Luca  della  Kobbia  (loo'ka  del  lii  rob  - 

beHi). 
Lucca  (look'ka). 

Magnificat  (m&g-nlf'I-kit). 

Mandorla  (man  'dor-la). 

Manetti,  Antonio  (an-to'ne-o  ma-net'- 

te). 

Marcel-Reymond  (mar-sel  ra  i 
Marzocco,  D  (el  mard-aSk'ko). 
Medici  (ma'de-cbe). 
Michaud  (me-sho'). 
Michelangelo  (me-kil-an'ja-lo). 
Milan  (mil'an  or  mi-Ian'). 
Mino  da  Fiesole  (me'no  da  fe-a'to- 

la). 

Mulinier  (mo-le-iie4k'). 
Murate  (mob-ra'ta). 
Murillo  (moo-rel'yo). 

Nanni  di  Banco  (niin'ne  de  ban'ko). 
Nathan  'a«l. 
Naz'areth. 
Niccolo  n."  k(Vl,~'). 

Or  Saa  Michele  (drain  mS-ki'lA). 

PaduA. 

Palaxxo  Veochio  (pa-lat'so  vek  ke-5). 


>uio  (pn-tro'ne-o). 
Phrygia  (frlj'Ia). 


PRONOUNCING  VOCABULARY 


97 


Piazza  (pe-at'sa). 

Piccinino,  Niccol6  (ne-ko-lo'  pet-che- 

ne'no). 

pietra  serena  (pe-a'tra  sii-ra'na). 
Pisa  (pe'zii). 
Pistoja  (pes-to'ya). 
Plancb.6  (plaN-sha"). 
Pollaiuolo  (pol-la-yob-o'lo). 
Portogallo,  Jacopo  di  (ya'ko-po  de 

por-to-gal'lo). 
Port'ugal. 
Pi^x'ed. 
Pre-Raphaelite  (pre-ra'fa-el-it). 

Raphael  (ra'fa-61). 
Rea  (ra). 

Rembrandt  (rSm'brSnt). 
Renaissance  (re-nas-saNs'). 
ringhiera  (ren-ge-a'ra). 
Romola  (rom'o-la). 
Rossellino  (ros-sel-le'no). 
Rossetti  (ros-sSt'te). 

Sabatier  (sa-ba-te-a'). 


Salutati,   Leonardo    (la-5-nar'do  sa- 

lob-ta'te). 

San  Mini, -it 0  (san  me-ne-a'to). 
Scythia  (sith'i-a). 
Sforza  (sford'sa). 
Siena  (se-a'na). 
Signer  (sen'yor). 
Signory  (sen'yo-ri). 
Slle'ne. 
Spedale    degli    Innocent!    (spa-da'la 

da'lye  en-no-chan'te). 
Stig'mata. 

Symonds  (sim'undz). 
Syndics  (sin'dix). 

Ta'ling-hSst. 
Titian  (tish'an). 
Tus'cany. 

Vasari  (va-sa're). 

Via  de'  Leoni  (ve'a  da  la-o'ne). 

Zacharias  (zak-a-rl'as). 
Zuccone  (dsobk-ko'na). 


fitocrribe  prc« 

EUctrotyfied  and  printed  by  H.  O.  Houfkto*  tf  Co. 
Cambridge  M<***,  U.S.A. 


HE   MANY   VERROCCHIO   PIECES  STATUE    HAS  BROAD  FEET,  THICK  EARS 

LONG-LOST  STATUE 

<<nown  Verrocchio  is  discovered  in  New  York 


